‘Music For The Dancers’ N°511 – Vintage 80s Videos

1 . Boogie Down Productions – Jack Of Spades

“Jack of Spades” by Boogie Down Productions stands out as a mid-era hip-hop track that merges biting social commentary with a cinematic touch.

Featured on their 1989 album *Ghetto Music: The Blueprint of Hip Hop*, the song anchors an identity-focused narrative grounded in accountability, without overindulgent moralizing.

Its inclusion on the soundtrack for Keenen Ivory Wayans’ 1988 spoof *I’m Gonna Git You Sucka* underlines the group’s ability to traverse cultural spaces, blending sharp lyricism with a unique cinematic reach.

The production leans on layered, rugged beats and smooth delivery, hallmarks of Boogie Down Productions’ evolving sound, while KRS-One’s commanding voice delivers the themes with conviction—part preacher, part storyteller.

Though it didn’t chart as a standalone hit, the track’s presence elevates the broader album, which balances experimental sonic choices with critiques of societal constructs and reflections on power dynamics.

Its associated music video ties the song tightly to its film counterpart, visualizing its role as both soundtrack and statement, weaving music and visual media into a coherent piece of cultural dialogue.

Featured on the 1989 album “Ghetto Music: The Blueprint of Hip Hop”.

Lyrics >> More by the same : Wikipedia

2 . Al Hudson & The Partners – You Can Do It

Released in 1979 under MCA Records, “You Can Do It” by Al Hudson & The Partners is a spirited anthem that thrives on its disco-funk energy.

The track, co-written by Al Hudson, Kevin McCord, and Kathy Wakefield, is an infectious groove machine that taps into the carefree euphoria of the late 70s.

With its pulsating basslines, sharp brass accents, and celebratory vocals, the track invokes a near-unstoppable urge to move, as if choreographed by the prevailing zeitgeist itself.

Charting at No. 10 on the Billboard Hot Soul Singles and No. 12 on the UK Singles Chart, the song showcased its ability to appeal across audiences without overstaying its welcome.

Thematically, it preaches resilience and positivity, albeit wrapped in the shimmering, glitter-ball aesthetic of the disco movement.

Though undeniably a product of its era, it avoids the overindulgence that often plagued its contemporaries, keeping things light, accessible, and irrepressibly fun.

Recent appearances in retrospectives and samplings underline its lasting charm, not as a groundbreaking pillar, but as a quintessential slice of disco escapism that still packs a sturdy, funky punch.

Lyrics >> More by the same : Wikipedia

3 . Fantastique – Mama Told Me

Drawing from the theme of parental wisdom, “Mama Told Me” operates as an ode to life lessons, poignant guidance, and nostalgia—it’s less of a song and more of a distillation of enduring truths wrapped in melody.

Built on a narrative that feels familiar yet timeless, the track weaves cautionary anecdotes and affirmations of love into its lyrical framework, offering listeners moments of both reflection and relatability.

The instrumentation, if imagined, would likely merge elements of soulful vulnerability with rhythmic precision, creating a soundscape that underscores its thematic weight while avoiding overproduction.

Its strength lies in its emotional grounding rather than technical virtuosities, proving the enduring appeal of heartfelt simplicity over spectacle.

What makes it resonate is its universality—guided not by cultural shifts or temporal trends, but by the perpetual relevance of human connection and generational exchange.

Lyrics >> More by the same : Wikipedia

4 . 2 Men A Drum Machine & A Trumpet – Tired Of Getting Pushed Around

Released in 1987, “Tired of Getting Pushed Around” functions as the sole offering from 2 Men A Drum Machine & A Trumpet, a fleeting side project by Fine Young Cannibals’ Andy Cox and David Steele.

With an instrumental foundation steeped in dance-funk, the track leans into rhythmic grooves and punchy brass flourishes—a formula perfectly tailored for late-80s club circuits.

The song became a chart contender, snagging the 18th spot on the UK Singles Chart and soaring to number 4 on the US Billboard Dance Club Songs chart, while also making modest waves in Ireland and the Netherlands.

Its presence in DJ sets and compilation mixes of the era solidified its place in the pantheon of dance floor staples, and its inclusion in the soundtrack for the comedy film “Disorderlies” added a pop-culture bow to its résumé.

Despite its chart success and cult-like appreciation, the project dissolved as quickly as it appeared, with the duo redirecting their energy toward Fine Young Cannibals’ Grammy-winning album “The Raw and the Cooked.”

Though the song gained traction on music television networks at the time, no follow-up materialized, leaving it a one-hit snapshot of late-80s musical experimentation fueled by whimsy and an evocative groove.

Lyrics >> More by the same : Wikipedia

5 . Herb Alpert – Rise

Herb Alpert’s 1979 track “Rise” marks an intriguing pivot in his career, transitioning from the sunny, brass-heavy pop of the Tijuana Brass era to a sleeker jazz-funk hybrid.

Crafted by Andy Armer and Randy “Badazz” Alpert, the instrumental embraces a measured tempo, sliding at around 100 BPM for a more sultry, intimate mood rather than the pulse-pounding highs of disco.

Its signature bassline, expertly handled by Abe Laboriel, provides a firm foundation over which Alpert’s trumpet soars, evoking a sense of restrained vitality.

Not content with staying niche, “Rise” found itself straddling worlds—it claimed the top spot on the Billboard Hot 100, the Adult Contemporary chart, and even flirted with the R&B listings, no small feat for an instrumental in a pop-dominated era.

The icing on the cake? A Grammy win for Best Pop Instrumental Performance in 1980, cementing its cross-genre appeal.

It wasn’t all due to airplay alone; a pivotal moment came when “Rise” soundtracked a high-stakes scene on *General Hospital*, giving it a soap-opera-fueled popularity boost often reserved for vocal power ballads, not jazz-funk experiments.

Interestingly, British DJs unknowingly contributed to its club appeal by playing the track sped up—an accidental remix of sorts that likely helped it cross over to European dance floors.

Years later, the song’s influence extended to hip-hop when Notorious B.I.G. sampled its bass groove for his 1997 hit “Hypnotize,” introducing a new generation to Alpert’s chic sensibilities.

Yet what makes “Rise” endure isn’t just its accolades or chart history; it’s the audacity of merging funk’s body-moving rhythms with jazz’s improvisational spirit, all while seducing mainstream audiences who might have thought they didn’t like either genre.

Featured on the 1979 album “Rise”.

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

6 . Bomb The Bass – Beat Dis

Released in 1988, Bomb The Bass’s “Beat Dis” arrived like a frenetic collage of sights and sounds, pulling threads from cinematic snippets, obscure voice clips, and pop culture flotsam to create an intricate sonic pastiche.

Its producer, Tim Simenon, conjured a track bursting with over seventy samples, an audacious feat for the time, yet one that cemented its place in the UK’s acid house genesis.

The track nimbly sidesteps melodic predictability, favoring pulsating beats and rhythmic layers that buzz with an almost chaotic energy.

The Akai S900 sampler, relatively novel in mainstream music at the time, became the track’s secret weapon, stitching together its unpredictable elements with razor-sharp precision.

Chart success was swift; it soared to the number two spot in the UK and made impressive showings across European charts, even climbing atop the US Billboard Dance Club Play chart—a rare feat for UK electronic acts in the late ’80s.

Visually, the vinyl sleeve, designed by Dave Little, borrowed a graphic irreverence in keeping with the acid house aesthetic, its mischievous use of a smiley face nodding both to Alan Moore’s *Watchmen* and the burgeoning rave culture of its day.

The video, with its gritty yet playfully anarchic vibe, echoed the kaleidoscopic sensory overload of the song itself, earning extensive TV rotation at the height of music television’s influence.

“Beat Dis” doesn’t care much for subtlety; it’s bold, restless, and unrepentantly experimental, carrying the weight of its influences while forging ahead as a genre-defining artifact of its particular moment.

Though lacking in conventional accolades, its legacy lies in its unapologetic embrace of noisy creativity and its role as a launchpad for the sample-laden future of dance music.

Featured on the 1988 album “Into the Dragon”.

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

7 . Brother Beyond – He Ain’t No Competition

Brother Beyond’s track “He Ain’t No Competition” landed in 1988 and found itself tightly bound to the glossy, factory-precision stylings of Stock Aitken Waterman.

This is not a song of subtlety—it’s a polished, dance-pop confection crafted to push chart buttons rather than challenge artistic norms.

Functioning as a sequel, of sorts, to their earlier hit “The Harder I Try,” the single plays like a neon-lit carousel of late ’80s pop ambition.

Peaking at No. 6 in the UK Singles Chart, it rode the momentum of an EMI-led campaign that married Brother Beyond’s heartthrob image to SAW’s hit-making machinery.

Nathan Moore’s vocal delivery is earnest, but one can almost hear him grappling with the song’s unapologetically bubblegum vibe, a choice the band reportedly wrestled with as they aimed for more mature terrain.

The video splashes big energy across a series of stylized backdrops, selling an already market-calibrated track with even greater force.

While the song benefitted from appearances on shows like “Top of the Pops,” it reflects a moment when commercial appeal seemed to dictate the band’s trajectory more than artistic evolution.

For all its charm, the breakneck hooks and razzle-dazzle production don’t entirely hide the hints of creative compromise lingering just beneath the bright melodies.

Its brief flirtation with international charts, notably in Ireland and New Zealand, hints at the mixed blessing of being tethered to Stock Aitken Waterman’s factory line of hits—a collaboration both lucrative and limiting.

The result is a track emblematic of a period where chasing holiday season sales often meant shelving uniqueness in favor of formulaic success.

Featured on the 1988 album “Get Even”.

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

8 . Fun Boy Three – The More I See [The Less I Believe]

Fun Boy Three’s “The More I See (The Less I Believe)” channels a world-weary skepticism that feels oddly timeless, even though it firmly belongs to 1982’s post-punk experiments.

Featuring the distinctive fingerprints of producer David Byrne, the track melds minimalist instrumentation with melancholic vocal delivery, striking a delicate balance between catchy and unsettling.

Terry Hall’s deadpan voice delivers lines that dissect societal disillusionment, while the echo-laden production wraps the cynicism in a soundscape that’s as sparse as it is impactful.

The song is nestled within *Waiting*, the trio’s second album, which attempts to stretch beyond their pop beginnings without losing their knack for memorable hooks.

The album itself offered moments of experimentation, including an unexpected rendition of Gershwin’s “Summertime,” which somehow fit alongside its more socially conscious tracks.

Although “The More I See” wasn’t carved out as a single, it remains emblematic of a band that thrived on contradiction: pop melodies paired with lyrics that side-eye the very world they inhabit.

While Fun Boy Three’s stint was brief—essentially a flash across the early ‘80s—they left behind an enduring impression that post-punk could successfully marry accessibility with critique.

Featured on the 1983 album “Waiting”.

Lyrics >> More by the same : Instagram

9 . Krush – House Arrest

Released in 1987, Krush’s “House Arrest” emerges as a snapshot of the late-’80s British electronic music upswing—a tangled, beat-heavy concoction of house music and hip-hop twists that marked its territory on the European music charts.

This track is undeniably a product of its time, both in the best and most dated ways possible.

The pulsating acid-house elements lend a frenetic energy that was integral to the emerging club scene, just as its playful vocal samples underline a certain cheeky irreverence seldom replicated in today’s often overproduced electronic music.

With contributions from the eccentric collective of Mark Gamble, Cassius Campbell, and Ruth Joy, the track feels less like a cohesive song and more like a chaotic meeting of distinct creative impulses, loosely held together by its driving rhythm and infectious hook.

Chart-wise, it performed impressively, hitting No. 3 in the UK and boasting top placements across Switzerland, Norway, and Germany.

But while its jukebox appeal sustained it briefly at the mainstream forefront, “House Arrest” also betrays its limitations—a somewhat repetitive structure and production quirks that wear thin after multiple listens.

Still, its impact is undeniable, helping nudge house music closer to the charts while offering a cheeky grin and a slightly unruly edge to the rigid pop structures of the time.

It’s not flawless, but “House Arrest” captured lightning in a bottle, if only momentarily, as it balanced on the cusp of rebellion and mass appeal.

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

10 . Big Audio Dynamite – The Bottom Line

Big Audio Dynamite’s “The Bottom Line” hit the scene in 1985 like a hodgepodge of post-punk attitude, funk grooves, and electronic noodling, all tied together with sampling that must’ve seemed like a sci-fi concept at the time.

Written by Mick Jones and Don Letts, this track shoved conventional genre boundaries aside, operating as more of an audio collage than a straightforward song. It’s not just the danceable beat or the cryptic lyrics that grab you, but the Frankenstein-esque assembly of ideas strung together with charm and, frankly, audacity.

Though it only scraped into the Billboard Hot 100 at No. 97 in the U.S., its popularity on specialized charts like Dance Club Songs and a smattering of countries such as Australia suggests it was destined for niche adoration rather than arena-sized success. Its lack of mainstream chart appeal in Britain feels ironic, given Jones’s former status as a Clash cornerstone.

The production, credited to Jones himself with key input from Rick Rubin, feels both meticulous and relaxed, as if the pair were deconstructing rock, reconstructing it, and smirking the whole time.

Compared to Jones’s Clash-era work, “The Bottom Line” is both a departure and a revelation—a bold step away from snarling punk into a cinematic, rhythm-heavy world. Yet, it’s not all sleek futurism; there’s a scrappy sense of improvisation that keeps it grounded.

With the vibrant chaos of Letts’s direction and Jones’s knack for hooks, the song helps define Big Audio Dynamite’s DNA, a blend of ambition and playfulness that would carry them through tracks like “E=MC2.” It doesn’t beg listeners to like it but finds its sweet spot among those who appreciate risk-taking over radio convention.

These days, “The Bottom Line” feels less like a song and more like a manifesto for reinvention—proof that leaving your punk comfort zone doesn’t have to mean leaving behind the ethos of experimentation and rebellion.

Featured on the 1985 album “This Is Big Audio Dynamite”.

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

11 . Kool & The Gang – Ladies Night

Kool & The Gang’s “Ladies Night” entered the late ’70s with a pop-funk hybrid that positioned the group firmly in the commercial mainstream. Helmed by producer Eumir Deodato, this track became a chart fixture, climbing to No. 1 on the R&B chart and breaking into the Billboard Hot 100’s Top 10. It wasn’t just a hit; it was a turning point. The song signaled a shift for a band that had been treading the water of obscurity after their early ’70s jazz-funk heyday.

Part of the track’s appeal lies in its simplicity. The repeated hook, rooted in the era’s club culture, was both catchy and inclusive. The night out wasn’t just a celebration; it was an invitation for collective escapism. J.T. Taylor’s smooth but commanding vocal debut on this song added a layer of charisma, steering the group toward a more vocal-centric approach.

Though the grammar nerds in us might twitch at the missing apostrophe in the title, even the linguistic oversight adds to its charm. It’s a small rebellion in an era when disco—and its accompanying grammar rules—was on thin ice with critics. Ronald Bell’s knack for merging rhythmic grooves with simple, universal themes showed a band adapting to survive the shifting tides of public taste while holding onto their funk roots.

“Ladies Night” didn’t just live in the vacuum of charts and airwaves. Its extended afterlife in movie soundtracks, advertisements, and remixes—such as the 2003 collaboration with Atomic Kitten—keeps the track in cultural rotation. It’s a song that manages to be both of its time and resiliently timeless, even when dissected under modern magnifying glasses. Pop-funk had rarely been this accessible, and few songs could claim they defined the ‘night out’ as effectively as this one.

Featured on the 1979 album “Ladies’ Night“.

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

12 . Racey – Runaround Sue

“Runaround Sue,” forever linked with Dion’s early ’60s croon, is a tale of heartbreak wrapped in a deceptively upbeat doo-wop shuffle.

The narrative is simple: a guy falls for the wrong girl—a serial heartbreaker who leaves a trail of crushed egos in her wake.

Vocally, Dion’s smooth delivery balances vulnerability and bitterness, capturing the ever-familiar post-breakup cocktail of regret and resentment.

Musically, the punchy handclaps and vocal harmonies echo an era when heartbreak could still be danced off under swirling jukebox lights.

The chorus is the kind of hook built for communal singalongs, even if its lyrical content casts the titular Sue in a less-than-flattering light.

Culturally, it’s one of those quintessential pop tracks that straddles the line between personal cautionary tale and universal anthem of romantic disillusionment.

Its catchy charm often overshadows the undercurrent of sadness, lending the song a bittersweet timelessness that keeps it relevant long after runaway dames became less of a trope in pop music.

Lyrics >> More by the same : Wikipedia