Shalamar, Luther Vandross, Sheryl Lee Ralph, NENA, Robert Howard & Kym Mazelle, Taka Boom, The Style Council, Sam Moore & Lou Reed, Billy Idol, The Bangles, Coast To Coast, AC/DC
They are the performers of twelve vintage dance tunes that were ranked in various charts, this week (06/52) BUT … in the EIghties 80s.
Here, they are reunited in one glorious playlist. Enjoy!
For TWELVE more ‘Music For The Dancers’ – Vintage 80s Music Videos – week 06/52 – click here
Tracklist
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1 . Shalamar – Right In The Socket“Right In The Socket” by Shalamar slides effortlessly into the groove-heavy, disco-funk atmosphere of the late ’70s. Emerging from their 1979 album *Big Fun*, this track represents the debut of Shalamar’s quintessential lineup: Jeffrey Daniel, Howard Hewett, and Jody Watley—a trio whose charisma would become emblematic of the era’s glossy, nightlife-fueled energy. Produced by Leon Sylvers III, the song leans on the dynamic interplay of punchy basslines and effervescent rhythms, clocking in at an indulgent 6:51, long enough to fuel a brightly lit dance floor. The lyrics, while hardly groundbreaking, pulse with the euphoric simplicity true to disco’s mission: to get bodies moving and spirits lifted. Culturally, it aligns with the decadence of pre-’80s club scenes—an audio adrenaline shot, built as much for the communal joy of the dance floor as the solitary satisfaction of a disco-obsessed audiophile. Charting modestly at number 22 on the Hot Soul Singles list in 1980, the track was still undeniably part of the fabric of Shalamar’s golden-era success, helping *Big Fun* earn Gold certification. Yet, beneath the glimmer and buoyancy, one might catch fragments of tension—an almost formulaic reliance on production pizzazz that teeters on overindulgence, a trait evident across much of disco’s declining years. Still, for fans of the genre’s breezy escapism, “Right In The Socket” delivers exactly what its title promises: a direct jolt of funk-infused delight. Featured on the 1979 album “Big Fun”.
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2 . Luther Vandross – She Won’t Talk to MeLuther Vandross’s “She Won’t Talk to Me,” released in 1988 as part of the **”Any Love”** album, stands as a polished snapshot of late-’80s R&B. The track unpacks the helpless frustration of romantic miscommunication, something Vandross renders with his trademark vocal finesse—silky yet pleading, understated yet powerful. Charting across multiple categories, it managed to snag notable positions, including No. 3 on the U.S. Hot R&B/Hip-Hop chart, which showcased Vandross’s unerring ability to meld emotional weight with pop sophistication. Musically, it’s emblematic of the era’s production style: smooth, synth-infused instrumentation paired with background harmonies that act less like embellishment and more like an intrinsic extension of Vandross’s voice. His performance on “Saturday Night Live” in early 1989 marked a moment where he translated studio perfection to live charisma, as effortless onstage as his recordings suggested. Though not his most iconic work, the song holds its place as a refined exploration of vulnerability, demonstrating Vandross’s gift for balancing technical precision with raw sentiment. Featured on the 1988 album “Any Love”.
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3 . Sheryl Lee Ralph – In The EveningSheryl Lee Ralph’s “In the Evening” encapsulates the pulsing optimism and escapism of the 1980s dancefloor, as though every late-night catharsis hinged on its glittering beats. A disco-pop anthem released in 1984, the track finds its groove in a tightly wound production that marries synth stabs with a vocal performance full of urgency—Ralph’s voice driving the relentless rhythm forward. Its kinetic energy seems to suggest that freedom is less a state of mind and more an activity—specifically one best exercised between strobe lights with a bassline vibrating through your chest. What sets it apart isn’t its disco lineage but its commitment to heightening the stakes, positioning nighttime as a form of salvation rather than mere backdrop. Lyrically, the song teeters between plaintive hope and outright declaration, delivered with just enough sincerity to anchor the flighty euphoria of the arrangement. Beyond its Billboard dance chart success, “In the Evening” became a staple in LGBTQ+ clubs, where its themes of rebirth and liberation took on added dimensions of defiance and celebration. Ralph—a Tony-nominated actress for her role in *Dreamgirls*—channels a theatricality here, applying her Broadway sensibilities to the genre’s glitzier demands without overindulging in melodrama. The surrounding album, sharing the same title, alternates between effervescent cuts like “Give Me Love” and slower, moodier compositions, though none match the singular immediacy of the title track. Viewed today, the song doubles as both period artifact and enduring dancefloor manifesto—its shimmering confidence unconcerned with subtlety but razor-sharp in its purpose. Featured on the 1984 album “In the Evening “.
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4 . NENA – 99 Red Balloons“99 Red Balloons” serves as an acerbic commentary on Cold War paranoia, cloaked in deceptively upbeat synth-pop. The narrative is absurd yet chilling—a batch of balloons mistaken for hostile aircraft sparks global annihilation, a blistering satire of hair-trigger geopolitics. The English version loses some of the nuance of its German counterpart but retains the unnerving juxtaposition of innocence and destruction. Musically, the bubbly keyboard riffs and propulsive drumbeats are a stark contrast to the apocalyptic lyrics, creating a tension that mirrors the era’s uneasy dichotomy of normalcy and existential dread. The music video, filmed with authentic blasts provided by the Dutch army, unintentionally captures the band’s real terror amidst the pyrotechnics—a fitting metaphor for unintended consequences and human folly. Despite its global success, particularly in the US, the song pigeonholed Nena as a quintessential ’80s one-hit wonder outside of Europe, forever linked to its anti-war narrative. For all its catchiness, the track’s legacy rests on its ability to critique humanity’s propensity for overreaction, using pop as a Trojan horse for its pointed message. Featured on the 1983 album “Nena”.
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5 . Robert Howard & Kym Mazelle – Wait!“Wait!” by Robert Howard and Kym Mazelle is a mosaic of late-’80s pop reflexivity, a track that feels both immediate and nostalgic. Howard, moonlighting as Dr. Robert, pairs his polished British croon against Mazelle’s arresting Chicago house vocals, creating a tangled interplay of controlled finesse and raw exuberance. The production balances funk-inflected rhythms and R&B accents, effortlessly capturing the transitional pulse of its era when pop couldn’t decide whether it wanted to seduce the dance floor or lounge in lyrical sincerity. Its January 1989 release positions it as an artifact of a time when genre boundaries were starting to blur without collapsing entirely—a prelude to the 1990s but still tethered to ’80s bombast. The music video, shot in black and white, seems as if it’s trying to feign high art while selling a pop single—an irony lost on no one except, perhaps, Howard himself. “Wait!” thrives on contradictions: the tension of lush production meeting the urgency of its hook, the polished artifice grappling with Mazelle’s gut-punch sincerity. It charts well without being disruptive, memorable without fundamentally shifting the landscape. A tune that sticks without scratching too deep, it finds its space somewhere between retro cool and an R&B tangent that refuses to commit to its lineage. In any case, the “Magnums Extended Mix” might just steal the more adventurous listeners away, nudging the track slightly closer to clubland while leaving the original to soak in pop radio’s rotating playlist.
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6 . Taka Boom – Middle In The Night“Middle In The Night” by Taka Boom is an unapologetically bold cut from the mid-’80s that coasts on vibrant funk rhythms and a touch of disco swagger. Released in 1985, this track captures the era’s obsession with heady basslines and powerhouse vocals, showcasing Boom’s confident delivery that isn’t afraid to claim its space. Taka Boom, sister to the legendary Chaka Khan, operates in a space adjacent to her sibling’s soulful canon, while injecting her own brand of flair and ferocity. The production leans heavily into a groove-centric ethos, marked by sharp instrumentation that almost dares you not to move—though it never quite achieves the depth or innovation that defined the decade’s true trailblazers. What’s fascinating here is how Boom straddles the line between personal charisma and a sound that feels almost intentionally anonymous within ’80s dance staples. Her vocals are undeniably the star of the show, a strong yet restrained force that hints at greater potential left just shy of its peak. The lack of significant chart impact or accolades for “Middle In The Night” might suggest a forgettable entry, but its inclusion in nostalgic playlists and compilations proves its enduring itch within niche markets. Though it can’t rival her contemporaries in terms of higher innovation, the track manages to hold its own as an entertaining snapshot of a musically fertile, if uneven, moment in time. Available mainly via digital relics like YouTube, “Middle In The Night” becomes a small but worthy artifact of Boom’s career, just enough to remind us of her role in a wider familial and cultural narrative. Featured on the 1985 album “Middle of the Night”.
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7 . The Style Council – It Didn’t MatterReleased in 1987, “It Didn’t Matter” by The Style Council emerges as a smooth slice of late-’80s pop tinged with funk and R&B sensibilities. Paul Weller and Mick Talbot craft a relaxed groove underscored by rich keyboard textures and a clean rhythm, while Weller shares vocal duties with Dee C. Lee, lending the track a conversational quality. Lyrically, the song hints at emotional ambiguity, reflecting themes of detachment and relational quandaries. Its polished production blends seamlessly with its introspective tone, though some might argue its slickness risks eclipsing the emotional depth of its lyrics. Still, the duet adds layers, giving the song a personal edge that resonates. The track achieved moderate chart success, reaching No. 9 in the UK and making smaller splashes overseas. Although it doesn’t carry the cultural weight of Weller’s earlier Jam-era work, it encapsulates The Style Council’s penchant for sophistication over grit. A study in polished restraint, it walks a line between stylish nostalgia and understated detachment. Featured on the 1987 album “The Cost of Loving”.
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8 . Sam Moore & Lou Reed – Soul ManThe 1986 rendition of “Soul Man” by Sam Moore and Lou Reed offers an unexpected creative collision, reframing the Isaac Hayes and David Porter classic into a gritty hybrid of soul and ’80s rock. Originally brought into the spotlight by Sam & Dave in 1967, this version strays into uncharted territory with Lou Reed’s dry, almost detached delivery adding an off-center dynamic to Moore’s enduring vocal energy. Far from a mere tribute, the track reimagines its predecessor with a wry, almost rebellious edge, underscored by Reed’s deliberate lack of smoothness. It’s a curious blend: Moore’s roots in Southern soul meet Reed’s art-school cool, offering listeners a clash of authenticity and irony, though not everyone will stick around for the ride. The accompanying music video is about as ’80s as it gets, loaded with cameos that feel more like a nod to pop culture kitsch than an attempt to enhance the track’s narrative power. Still, for all its oddities—and perhaps because of them—it remains a fascinating snapshot of an era when such unlikely pairings were pursued simply because they could be. Featured on the 1986 album “Soul Man : Soundtrack”.
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9 . Billy Idol – Dancing With Myself“Dancing With Myself” stands as a raw, energetic anthem born from Billy Idol’s punk roots with Generation X before being reimagined for his solo career in 1981. The track captures a vivid moment of cultural voyeurism—Idol watching Tokyo club-goers mesmerize themselves with their own reflections—and spins it into a story of isolation and defiance. The opening guitar riff jolts listeners into a heady mix of post-punk grit and new wave catchiness, while Idol’s raspy vocals throttle between detached cool and anthemic rally cries. The lyrics paint scenes of urban alienation filtered through neon lights, from “the floors of Tokyo” to “London town,” perfectly aligning with the youthful disconnection and rebellious individualism of the early ’80s. Tobe Hooper’s dystopian music video, with its grimy aesthetic and zombie-dancing extras, weirdly compliments the song’s introspective yet infectious vibe, rendering it a symbol of early MTV’s bold experimentation. The song feels like both a critique and celebration of self-obsession, with Idol smirking his way through its contradictions.
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10 . The Bangles – Hazy Shade of WinterThe Bangles breathe an unexpected ferocity into “Hazy Shade of Winter,” a Simon & Garfunkel track that trades reserved folk musings for an intricate rock anthem. Originally conceived in 1966 but reimagined for the 1987 *Less Than Zero* soundtrack, this cover bursts with tension, amplifying the introspective lyrics with aggressive guitars and steadfast percussion. The decision to strip Paul Simon’s leisurely delivery of its pastoral charm speaks to its transformation; this is no nostalgic walk through autumn leaves but a brisk, forward march through glistening snowdrifts of despair. There’s irony in The Bangles’ version eclipsing the original on the charts, peaking at number 2 in the U.S. and cracking top tiers globally—fame forged partly by Rick Rubin’s sharp production instincts, which injected grit into their usual melodic clarity. The band’s shared lead vocals add a communal edge, though Susanna Hoffs stands out briefly in a rare breakout moment that feels like a gift rather than a spotlight grab. Interestingly, record-label nerves edited out a vodka-soaked verse, presenting a sanitized form of melancholy that nevertheless doesn’t dilute the song’s urgency. Visually, the music video’s studio-bound setting, paired with interspersed movie clips, feels dated, though its claustrophobic aesthetic reflects the song’s unease well enough. Not featured in any of The Bangles’ core albums, the track floats in their catalog like a snowflake lost in time, reappearing intermittently on compilations and within the ambient worlds of modern TV dramas. A peculiar anomaly in their discography, “Hazy Shade of Winter” lives less as a signature piece and more as a frozen snapshot of The Bangles flexing unexpected muscle within someone else’s framework. Featured on the 1987 album “Less than Zero : Soundtrack”.
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11 . Coast To Coast – [Do] The Hucklebuck“Coast to Coast” feels like a gentle reflection on life’s journey, penned by Michael Kelly Blanchard and brought to life by Noel Paul Stookey. The song operates as an introspective piece, musing on time, creation, and shared humanity with poetic elegance. Stookey’s personal connection to the music is apparent, especially when tied to his cross-country road trip with his grandsons in 2024, framing the track as more than sound—a narrative. While it exists outside Peter, Paul, and Mary’s collective discography, the lyrics—”Stars above and stars below / and somewhere in between”—elevate the song to near-spiritual musings. It isn’t a traditional hit but feels like rediscovering an old journal, its appeal lying in its quiet sincerity and understated ambition. Nostalgic yet forward-looking, it balances melodicism with thoughtfulness in a way Stookey seems to have mastered. “The Hucklebuck” bursts in as a cultural artifact from the late ’40s that has outlived its era through sheer adaptability. Credited to Andy Gibson and equipped with lyrics by Roy Alfred, this jazzy R&B stormer hit the #1 spot on the R&B charts in 1949, staying put for 14 weeks—a testament to its infectious charm. At its heart lies a brilliant blend of rhythm and looseness that inspired a dance craze, paving the way for rock and roll’s rise. Over time, the composition has weathered reimaginings by figures as eclectic as Sinatra, Tommy Dorsey, and Lionel Hampton, morphing in style yet retaining its playful swagger. Coast to Coast’s 1981 rockabilly revival gave it new life—a cheeky nod to its roots while amplifying its irreverence. Its enduring appeal lies in its chameleon-like adaptability, translating joy whether it swings in a jazz club or struts into a dancehall decades later. Featured on the 1981 album “Coastin'”. |
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12 . AC/DC – Heatseeker“Heatseeker” by AC/DC is a swift punch of hard rock energy, brimming with the band’s signature machismo and fiery swagger. The track’s driving riff, co-authored by the powerhouse trio of Malcolm Young, Angus Young, and Brian Johnson, is unapologetically aggressive yet irresistibly catchy. It opens “Blow Up Your Video” with a bang, setting the tone for an album that seeks to reignite the group’s early thunder, helmed by producers Harry Vanda and George Young, family ties adding a polished but raw edge. The song’s chart success speaks volumes, clawing its way to No. 5 in Australia and holding its ground at No. 12 on the UK Singles Chart—a feat unmatched by the band for decades until later career highlights reclaimed the spotlight. Its accompanying music video doubles down on spectacle, blending live concert dynamics with playful Cold War-era imagery, featuring missile shenanigans that feel part-action flick, part-rock opera. The missile, exploding into the Sydney Opera House, delivers a cheeky, chaotic charm, matching the band’s penchant for larger-than-life theatrics. The 1988 tour teased these visual antics on stage, a rare case where live performance mimicked the absurd energy of MTV’s golden era of music videos. Thematically, “Heatseeker” barrels forth with unrelenting bravado, balancing brash enthusiasm with a sharp sense of humor, making it a standout earworm in AC/DC’s sprawling catalog. In true AC/DC fashion, subtlety is torched by pyrotechnics—instead, there’s a laser focus on adrenaline-fueled immediacy, as if daring listeners to keep up with its unyielding pace. Featured on the 1988 album “Blow Up Your Video“.
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