‘Music For The Dancers’ N°92 – Vintage 80s Videos
The Sugarhill Gang, Michael Jackson, Gloria Estefan, The Gap Band, Sheila, Inner City, Neneh Cherry, Bananarama, Alexander O’Neal, Will To Power, Rose Royce, The Nolans
They are the performers of twelve vintage dance tunes that were ranked in various charts, this week 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 01/52 – click here and here
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Tracklist
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![]() 1 . The Sugarhill Gang – Rapper’s DelightThe Sugarhill Gang’s “Rapper’s Delight” remains an electrifying record that encapsulates the early days of hip-hop, blending cheeky charm with groundbreaking ambition. Released in 1979, it unapologetically rides the bassline of Chic’s disco anthem “Good Times,” an appropriation so brazen it required a court-backed resolution to keep Nile Rodgers and Bernard Edwards happy. Even so, the song’s playful lyrics and infectious rhythm obliterated such formalities, proving that imitation wasn’t just flattery—it was a party starter on vinyl. Clocking in at nearly 15 minutes, the track bridged the worlds of radio edits and marathon club sessions, each run powered by carefree rhymes spun by Wonder Mike, Master Gee, and Big Bank Hank. And speaking of Hank, here’s where things get messy: his verses were borrowed wholesale from Grandmaster Caz, a detail that adds a footnote of irony to this larger-than-life hit. Wonder Mike’s iconic “Hip-hop, hippie to the hippie” sets off a lyrical avalanche of absurd yet magnetic phrases that practically dared listeners to look away. The song was stitched together with lightning spontaneity but lasted long enough in the public memory to pave highways for today’s monumental rap empire. Its success didn’t rest on studio polish or major-label strategies, but on its ability to turn simple repetition into a communal chant, a call to fun and frivolity few could resist at the time. From house parties to the Billboard charts, it disturbed genre lines and entrances alike with its raw energy and audacity. Featured on the 1979 album “Sugarhill Gang”.
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![]() 2 . Michael Jackson – The Way You Make Me FeelMichael Jackson’s “The Way You Make Me Feel” arrived in 1987 as a fiery declaration of rhythm and charisma, anchored by its infectious groove and vocal swagger. As the third single off “Bad,” the track not only stormed its way to number one on the Billboard Hot 100 but cemented its presence in global charts, resonating with audiences from the UK to the Netherlands. Crafted by Jackson himself and polished with Quincy Jones’s production finesse, the song melds pop and R&B influences with an unrelenting energy that mirrors the album’s larger-than-life ethos. The accompanying music video, a narrative fueled by Jackson’s pursuit of Tatiana Thumbtzen on a late-night city street, mixes cinematic flair with commanding choreography—a visual counterpart to the song’s flirtatious spirit. This wasn’t just a one-off hit; it became a recurring highlight in Jackson’s live performances, from the “Bad” World Tour to his planned “This Is It” shows, where the sultry undertones of the original were stretched taut in electric renditions. Its inclusion in retrospectives like “HIStory” and “Number Ones” reaffirms its status not as a filler track, but a benchmark of Jackson’s precision as both an artist and performer. Critics and fans alike have championed its seamless blend of pulsating rhythm, passionate lyricism, and Michael’s effortless delivery, traits that set it apart without veering into saccharine obsessions or overwrought theatrics. Whether it’s the sharp crack of the beat or Jackson’s smooth adlibs, the song continues to challenge anyone not to move—a pulsating reminder of how pop music can ignite both physicality and feeling. Featured on the 1987 album “Bad“.
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![]() 3 . Gloria Estefan – Rhythm Is Gonna Get YouGloria Estefan’s “Rhythm Is Gonna Get You” is a flamboyant collision of Latin flair and late-’80s pop gloss, serving as a calling card for Miami Sound Machine’s distinctive sound. Co-penned by Estefan with bandmate Enrique “Kiki” Garcia, the track builds on tightly woven percussion, syncopated bass lines, and a vocal delivery that oscillates between sultry command and festive release. Released in 1987 on the album *Let It Loose*, the song charted impressively, hitting No. 5 on the Billboard Hot 100 and breaking into Top 10s elsewhere, including the UK and Canada. The production, spearheaded by Emilio Estefan (Gloria’s husband and the group’s mastermind), is unapologetically commercial but with just enough of a Latin undercurrent to sidestep feeling sanitized. Its accompanying music video doesn’t reinvent the wheel but packs a punch with its infectious choreography that mirrors the track’s sheer exuberance. Where it thrives, though, is in its near-universal appeal—a track easily at home in a Miami club as it is in a Midwestern aerobics class. If anything, “Rhythm Is Gonna Get You” presents a kind of sonic escapism drenched in unabashed joy and energy, a snapshot of Miami’s cultural melting pot during the Reagan years. While later compilations would enshrine it among Estefan’s greatest hits, this song’s real achievement lies in how it continues to thrive across mediums and decades, whether as background fodder in a ‘90s rom-com or a jingle for television advertising. Though lacking the understated artistry of some contemporaries’ work, its charm lies precisely in its lack of pretense—it’s rhythmic euphoria distilled, no strings attached. Featured on the 1987 album “Let It Loose”.
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![]() 4 . The Gap Band – Burn Rubber On Me [Why You Wanna Hurt Me]“Burn Rubber On Me (Why You Wanna Hurt Me)” careens onto the scene with an audacious bassline born from Charlie Wilson’s tinkering on a Minimoog, setting a groove so electric it practically dares listeners to ignore it. The Gap Band didn’t invent funk, but they certainly infused it with a slightly rebellious swagger on this track, layering heartbreak with a rhythm so infectious that even the pain feels like something to strut to. This 1980 gem, forged by the trio of Charlie and Ronnie Wilson alongside Lonnie Simmons, made funk history by proving that synthesizers could command as much authority as a brass section, offering a dancefloor-ready blend of grit and polish. Thematically, it’s a tale of betrayal wrapped in resilience, its lyrics catching flashes of anger and independence without wallowing in self-pity—movement, after all, is the track’s DNA. Its opening drum riff, a detail that apparently struck Nirvana’s Dave Grohl enough to shape the pulse of “Smells Like Teen Spirit,” hints at how far its influence sprawls beyond funk’s borders. Chart-wise, it reigned supreme on the Billboard R&B Singles chart, parking itself at No. 1 in 1981, though its impact on the Hot 100 at No. 84 feels less like a failure and more like evidence of how it lived unapologetically within its lane. Its legacy only grows when one considers its resurgence through sampling, nodding at its fingerprints on tracks by N.W.A. and Public Enemy, and its cameo in cultural relics like “Grand Theft Auto: San Andreas.” While funk’s DNA often includes horns and heft, this track flipped the script, fueling its fire with synth basslines and a raw edge reminiscent of a breakup’s sting. In retrospect, it’s a crystallization of The Gap Band’s peak, a period where Lonnie Simmons’ production savvy and the unapologetic energy the band brought to the Total Experience Records roster felt untouchable. When played live or reissued on compilations, it still commands attention—not out of nostalgia but because its groove, defiant yet vulnerable, refuses to age. Featured on the 1980 album “The Gap Band III”.
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![]() 5 . Sheila – SpacerReleased in 1980, “Spacer” by Sheila and B. Devotion is one of those disco artifacts that manages to sound timeless while placing itself firmly in the late ’70s/early ’80s groove. The track’s DNA is unmistakably influenced by Nile Rodgers and Bernard Edwards of Chic fame, whose production here delivers a masterclass in bass and guitar interplay. If Chic’s other work feels like an invitation to the club, “Spacer” insists you take the VIP elevator straight to a glittering, intergalactic dance floor. The song’s extraterrestrial theme was more kitschy than groundbreaking, but this didn’t stop it from landing high on the charts—hitting #18 in the UK and taking the #1 spot in France, among other accolades. The deeper funk elements, sleek production values, and Sheila’s icy-yet-inviting delivery elevate it from being just another “space-age” novelty track. This is a cosmic love story as much as it is a full-bodied workout for your speakers, with the rhythm section doing all the heavy lifting while disco strings float weightlessly above it. Its longevity is partly tied to nostalgia, sure, but also to its adaptability. “Spacer” was resurrected decades later in Alcazar’s “Crying at the Discoteque,” proving the song’s riffs and beats remain as infectious as ever. Even the music video, drenched in metallic shades and theatrical sci-fi flair, offers a snapshot of disco’s love affair with futurism—a good reminder that this was an era when the stars weren’t just a metaphor but a probable weekend destination. What stands out the most about “Spacer” might not be its clever nods to galactic romance but the precise musical tightrope it walks. It straddles the boundary between playful and chic—pun intended—and steps boldly into a realm where funk grooves meet escapist fantasies. As tracks go, it’s endlessly replayable, not just because of nostalgia but because it resides in that rare sweet spot where craftsmanship and unrestrained fun intersect. Featured on the 1980 album “King of the World”.
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![]() 6 . Inner City – Good LifeReleased in 1988, Inner City’s “Good Life” emerged as a glittering anthem in the house music movement, a genre often overshadowed by more bombastic pop contemporaries of the era. Crafted by Kevin Saunderson and vocalized with serene conviction by Paris Grey, the track combined Detroit techno’s mechanical precision with a blissful disco sensibility, creating something both urban and utopian. The song didn’t just flirt with mainstream success; it strutted confidently onto global charts, peaking notably at No. 4 in the UK and claiming a proud No. 1 spot on the US dance charts. Kevin Saunderson, one-third of Detroit techno’s holy trinity, envisioned the work as techno brushed with a more human warmth—something you’d dance to without navigating existential dread. The video, filmed in London, captured a curious spontaneity, involving random passersby and a Rolls-Royce stunt that belongs in the annals of music video trivia. Meanwhile, Grey’s double life—singing and working retail—painted her as a grounded everywoman in a genre sometimes accused of its detachment. The lyrical optimism of “Good Life” wasn’t merely aspirational; it felt attainable, a mirrorball reflection of communal joy rather than private indulgence. Its jovial energy ensured longevity, with late ’90s remixes and countless anthologies securing its repetitive yet hypnotic hook in electronic music’s DNA. For all its gleaming tidiness, “Good Life” does carry the tension between techno futurism and its more commercial aspirations—a bittersweet paradox for purists. Still, whether at a festival or on a neon-drenched dancefloor, the record continues to project an inclusive euphoria, cobbled together with instinct, innovation, and a bit of whimsy. Featured on the 1988 album “Paradise”.
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![]() 7 . Neneh Cherry – Buffalo StanceNeneh Cherry’s “Buffalo Stance” broke into 1988 like a brash and confident statement, blending elements of hip-hop, electronic beats, and dance-pop with an attitude that screamed independence and defiance. The origins of this track trace back to the London Buffalo fashion scene crafted by Ray Petri, a movement that set the tone for its bold swagger and layered textures. What began as a B-side experiment by Morgan McVey—“Looking Good Diving with the Wild Bunch”—was transformed into “Buffalo Stance” through Cherry’s creative input and a collaborative production process led by Tim Simenon and Mark Saunders. Impressively, this layered piece, heavy with samples and complex rhythms, was crafted in under three days, capturing the spontaneity and energy of late-’80s pop innovation. Cherry’s charismatic presence shone when she performed the song on “Top of the Pops,” notably while visibly pregnant—a moment that signaled her fearlessness to a global audience. The track’s punchy hooks and biting lyrics playfully confronted materialism and hedonism, with Cherry coolly asserting her independence over a beat that effortlessly married gritty urban influences with club-ready grooves. Its music video, directed by Jean-Baptiste Mondino, mirrored the song’s sharp aesthetic, helping it dominate both UK and US charts, where it peaked at number three, and finding a foothold in the broader cultural zeitgeist. The track’s technical brilliance owes much to Simenon’s knack for combining rare groove samples with synthetic elements, a skill he honed while DJing at Soho’s Wag Club, making “Buffalo Stance” an intersection of underground innovation and mainstream appeal. Decades later, the song remains a time capsule of swagger, resilience, and audacious creativity, bridging genre lines while unapologetically proclaiming its individuality. Featured on the 1988 album “Raw Like Sushi“.
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![]() 8 . Bananarama – I Can’t Help ItReleased in late 1987, “I Can’t Help It” by Bananarama emerges as a shimmering artifact of the Stock Aitken Waterman production machine, fusing the group’s pop instincts with a sleek, incessantly danceable template. The track exudes the hallmark ’80s gloss, its chirpy synths and sharp beats crafting a soundscape unmistakable of its era—vivid, peppy, and slightly artificial, in a way that feels oddly charming. Chart-wise, it’s a modest player, hitting number 20 in the UK and floating into top 40 territories in Canada, New Zealand, and beyond, though its lack of major crossover in the U.S. speaks to Bananarama’s uneven traction stateside. Visually, the Andy Morahan-directed music video brings neon-lit surrealism to life, with its playful choreography and trippy aesthetics attempting to distract viewers from the fact that its concept might not exceed “cool lighting and funky moves.” Critics, meanwhile, were split. Max Bell from *Number One* praised its pep, while Smash Hits dismissed it as colorful wallpaper—bright but lacking dimension. The song also marks the end of an era: Siobhan Fahey’s swan song with the group before she decamped to dive into moodier waters with Shakespears Sister. Trivia aficionados might enjoy the tidbit that Herb Ritts’ iconic sleeve photography for this single would find later reuse for the band’s *Greatest Hits Collection*. Or that the song’s extended mix ceded inspiration, years later, to Pete Hammond’s remixing approach for Alphabeat’s “Boyfriend.” In the Bananarama timeline, “I Can’t Help It” captures all the contradictions of late ’80s pop—dynamic yet disposable, infectious but fleeting, and always on the brink of something bigger than it ever achieved. Featured on the 1987 album “Wow!”.
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![]() 9 . Alexander O’Neal – CriticizeAlexander O’Neal’s “Criticize,” a standout track from his 1987 album “Hearsay,” is a rhythmic battle cry against incessant faultfinding, dripping with defiance and anchored by the unmistakable Minneapolis sound of Jimmy Jam and Terry Lewis. The production, a vibrant mix of brassy synth stabs, relentless grooves, and infectious handclaps, propels O’Neal’s spirited vocals as he wields the lyrics like sharp-edged repartee aimed at a judgmental ex-partner. While the track skirts around the Billboard Hot 100 in the U.S., it solidifies its status internationally, peaking at No. 4 in the UK and enjoying the top spot on the Hot Black Singles Chart stateside for two weeks. The backing vocals, courtesy of Lisa Keith, add a layer of playful urgency, counterbalancing O’Neal’s fiery delivery with refrains that are as catchy as they are cutting. “Criticize” wears its unapologetic attitude on its sleeve, making no concessions to vulnerability, and its sleek funk-driven beat is as bold as its lyrical stance. The track’s enduring appeal stems partly from its ability to encapsulate both personal defiance and the broader themes of self-assertion within a relationship, all tied together by a pulsating rhythm that refuses to be ignored. Whether booming from the speakers of a 1980s disco or serving as a key addition to the “Grand Theft Auto IV” soundtrack decades later, the song refuses to fade into obscurity, proving its ability to resonate within the zeitgeist over time. Though not revolutionary in theme, “Criticize” makes up for it with its razor-sharp energy and its unwavering commitment to standing tall against critique, remaining one of O’Neal’s most cherished contributions to the R&B landscape. Featured on the 1987 album “Hearsay”.
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![]() 10 . Will To Power – Baby I Love Your Way/FreebirdWill to Power’s “Baby, I Love Your Way/Freebird Medley (Free Baby)” arrives as a peculiar cultural artifact from 1988, blending Peter Frampton’s tender balladry with Lynyrd Skynyrd’s Southern rock grandeur into a freestyle pop concoction that couldn’t be more late ’80s if it tried. Bob Rosenberg, the group’s mastermind, seemingly dragged this medley from the depths of skeptical record label disinterest to the euphoric heights of the Billboard Hot 100, where it nestled snugly at No. 1 for a week in December of its release year. With its slick Miami-infused production, driven by Suzi Carr’s dynamic vocals and Rosenberg’s understated male counterpoints, the medley transformed two classic rock staples into something unrecognizably sentimental, yet oddly engaging for older listeners who were perhaps yearning for nostalgia wrapped in fancy new packaging. Yet the song’s journey wasn’t without its headwinds—legal issues loomed large when the group initially neglected to secure permissions, resulting in an ironic twist where profits were siphoned off to settle disputes with the original authors. While the track reignited commercial interest in both Frampton and Skynyrd, sparking renewed activity from the former and eliciting bittersweet memories of the latter’s tragically interrupted career, it ultimately stands as an audacious example of chart-topping alchemy: two emotionally disparate songs fused into a single product tailor-made for adult contemporary radio and VH1-friendly audiences. Love it or cringe at its daring, “Free Baby” encapsulates the era’s penchant for medleys, slotting in comfortably alongside other Frankensteinian pop experiments like the “Stars on 45 Medley,” cementing its place as a curious, if divisive, chapter in pop history. Featured on the 1988 album “Will to Power”.
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![]() 11 . Rose Royce – Is It Love You’re AfterReleased in 1979, “Is It Love You’re After” by Rose Royce marked a pivot in the band’s trajectory, trading lush balladry for a more groove-heavy fusion of funk and disco. Produced by Norman Whitfield and housed on their third studio album “Strikes Again,” the track flaunted a polished yet unrelenting energy emblematic of late-’70s dance floors. The brass section punches through with precision, while Gwen Dickey’s vocals inject a potent mix of yearning and defiance, underscoring the lyrical tension between desire and disillusionment. Despite its relative underperformance on U.S. charts—landing at a peculiar No. 105 on Billboard’s Bubbling Under—the song fared better across the Atlantic, peaking at No. 13 in the UK. Its broader cultural footprint stems from being liberally sampled in S-Express’s 1988 breakout “Theme From S-Express,” a track that dragooned its irresistible riff to launch a house music revolution. In hindsight, the song occupies a curious liminal space, celebrated less for its initial splash and more for the ripple effects it generated in later decades. Even as it signified the end of Gwen Dickey’s tenure with the group, the song’s confident swagger left a lasting impression, immortalizing a moment before Rose Royce stepped into an era of transformation. |
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![]() 12 . The Nolans – I’m in the Mood for DancingThe Nolans’ *”I’m in the Mood for Dancing”* emerged in late 1979 as a slick, disco-infused pop offering, radiating a carefree charm that resonated with a global audience. Crafted by Ben Findon, Mike Myers, and Robert Puzey, the track embraced rhythmic hooks and buoyant melodies, helping it soar to number 3 on the UK Singles Chart by early 1980, with an even greater impact in Japan, where it became an enduring favorite. Anchored by playful “Ooh! Ooh! Ooh!” harmonies, the song balanced effervescence with just the right dose of nostalgia, a reflection of the Nolans’ unique blend of glamour and accessibility. It’s a track that aligns perfectly with late ’70s disco culture while retaining its distinct voice, shaped by the sisters’ Irish dancing roots and years of experience performing in gritty working men’s clubs. The song’s cultural echoes stretched into television performances, advertising spots, and even a re-recorded Japanese version for their *Dancing Sisters* album, cementing its place as a global pop artifact. But beyond its bubbly exterior lies a fascinating behind-the-scenes tale of persistence—co-writer Bob Puzey’s dual life as a window cleaner turned hit songwriter being just one example. Performances of *”I’m in the Mood for Dancing”* carried distinct emotional weight for the sisters, with Bernie originally leading the vocals and later Coleen taking over during reunion tours, ensuring its legacy remained alive even decades later. Unsurprisingly, the track’s infectious energy made it a magnet for reinterpretations and callbacks, solidifying it as more than just a fleeting hit—it’s a shimmering snapshot of a particular pop moment. Featured on the 1979 album “Nolan Sisters”.
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