‘Music For The Dancers’ N°98 – Vintage 80s Music Videos

1 . Prince – 1999

“1999” is a quintessential track from one of music’s most prodigious innovators, Prince, and a defining moment in the cultural fabric of the 1980s.

Released in 1982 on the album of the same name, the song wades through apocalyptic dread with a funky, synth-driven soundscape that feels both ominous and exhilarating.

Prince’s lyrics reflect societal anxieties flavored through the hedonistic spirit of an unrelenting party, where the only option is to dance through impending doom.

The production, helmed solely by Prince, captures a hybrid of funk, new wave, and synth-pop, forging a sound that unapologetically sits outside the mold of early ’80s pop conventions.

Adding depth to the vocals, members of The Revolution—Lisa Coleman and Dez Dickerson—share moments at the forefront, a wise creative choice that gives the track additional texture.

The opening phrase, “Don’t worry, I won’t hurt you. I only want you to have some fun,” sets the tone for the contradictory collision of existential fear and unyielding joy permeating the song.

Although it initially found modest success on the Billboard Hot 100, peaking at No. 44, subsequent re-releases elevated it further, embedding it into the zeitgeist of the era.

Its music video broke ground on MTV as one of the first visual representations from a Black artist to be showcased regularly, broadening its reach and cultural resonance.

The track’s layered electronic beats are punctuated with guitar licks and synthetic explosions, giving it a chaotic vibrancy that mirrors its apocalyptic narrative.

Ahead of its time, both sonically and thematically, “1999” continues to find new relevance, particularly during milestone calendar years like its titular one, solidifying its stature as a perennial staple in New Year’s Eve playlists.

It’s an ever-fresh reminder of Prince’s knack for capturing the contradictions of life—beautifully messy, achingly poignant, and irresistibly fun—all within four minutes of near-perfect pop craftsmanship.

Featured on the 1982 album “1999“.

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2 . Michael Jackson – Smooth Criminal

Michael Jackson’s “Smooth Criminal,” from his 1987 album “Bad,” arrives like a cinematic thriller staged on a neon-lit dance floor.

Built around a pulsating beat and an aggressive bassline, it’s a track that punches its way through genres, blending pop, rock, funk, and jazz into a suspenseful tale of a mysterious attack on a woman named Annie.

The repeated line “Annie, are you OK?” was partly inspired by a CPR training doll, a twist so oddly specific it borders on absurd inspiration.

The song opens with Jackson’s signature breathy vocals layered over sound effects—a heartbeat and gasps—that heighten the urgency, pulling the listener into its noir-like atmosphere.

Its accompanying music video, feature-length in ambition as part of the 1988 film “Moonwalker,” is equal parts sci-fi, Broadway, and pure Jackson choreography.

The infamous anti-gravity lean, a feat of biomechanical engineering with patented shoes, cements its place in pop culture history faster than you can say “red fedora.”

Though the track peaked at No. 7 on the U.S. Billboard charts, its legacy supersedes numbers, and its influence pervades covers and samples, most famously Alien Ant Farm’s unexpected rock reinterpretation in 2001.

Originally slated as the title track for the “Bad” album, “Smooth Criminal” was sidelined by Quincy Jones in favor of the now-iconic choice, though its eventual rollout suffered no loss in impact.

Critically lauded over the decades, it is often placed among Jackson’s most ambitious works, weaving theatrical drama into the framework of a pop song without veering into self-indulgence.

Its balance of grit and glam—and Jackson’s impeccable vocal precision—proves why, 35 years later, “Smooth Criminal” refuses to age.

Featured on the 1987 album “Bad“.

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3 . The Jets – Crush On You

Released in 1986 as part of The Jets’ self-titled debut album, “Crush on You” captures the vibrant, freestyle flavor of mid-80s pop, blending infectious hooks with crisp production.

Jerry Knight and Aaron Zigman, the song’s architects, deliver a polished, radio-friendly gem that sees The Jets mixing silky harmonies and youthful energy in a way that made them impossible to ignore.

The track’s commercial impact is undeniable, peaking at #3 on the Billboard Hot 100 and scattering itself across charts in the UK, Canada, and beyond.

The seamless synergy of its rhythmic bassline and layered vocals proved to be a magnet for airplay, cementing its place as a defining hit of its era.

The music video, directed by Stephen Rivkin, mirrors the buoyancy of the song, with its choreography and colorful visuals offering a kinetic burst of nostalgia for the MTV generation.

Clocking in at 3:41 for the video edit, the song trims just enough from its original 4:30 runtime while keeping its core appeal intact.

Although its primary function is to entertain, “Crush on You” inadvertently provides a snapshot of a moment when pop, R&B, and freestyle collided seamlessly, acknowledging no barriers.

From its release via MCA Records to its remastered version uploaded decades later, the song’s journey is a reminder of how polished throwback anthems can still find relevance in the streaming age.

Featured on the 1985 album “The Jets “.

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4 . Jaki Graham – Step Right Up

“Step Right Up” by Jaki Graham stands as a quintessential pop-funk hybrid from 1986, radiating a polished sheen courtesy of producer Derek Bramble.

The track rides on an infectious groove, propelled by Graham’s crystalline vocals and shimmering synth arrangements, instantly evoking the neon optimism of mid-’80s soundscapes.

While it reached a respectable No. 20 on the UK charts, the song’s upbeat tempo and empowering lyrical hooks seemed engineered more for radio appeal than chart domination.

Part of a trio of notable releases with “Set Me Free” and “Breaking Away,” this single spotlighted Graham’s role as one of the rare British artists diversifying the predominantly U.S.-driven funk-inflected pop scene of the decade.

Despite its modest positioning compared to her earlier hits, the single reflects her steady grip on an era where glitzy production often fought for attention over emotional depth, a balance she handles with grace.

The accompanying video, drenched in saturated hues and unapologetic choreography, accentuates the track’s glossy appeal while rooting it firmly in 1986’s unapologetically vibrant aesthetic.

Jaki Graham’s consistent streak in the UK charts, including this release, cements her as a notable figure who bridged genres in an industry reluctant to give rightful space to diverse voices.

Featured on the 1986 album “Breaking Away “.

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5 . Ray Parker Jr. – Ghostbusters

Ray Parker Jr.’s “Ghostbusters” pulses with 1980s dance-pop flair, a synth-heavy effort that harnesses its cheeky, supernatural theme for immediate pop appeal.

The track’s playful hook, punctuated by the infectious call-and-response “Who you gonna call? Ghostbusters!” manages to straddle irony and sincerity, channeling the film’s offbeat humor while maintaining radio-friendly charm.

Written and recorded under a tight two-day deadline, the song’s hurried production doesn’t dampen its polished result, though its musical DNA sparked a lawsuit claiming resemblance to Huey Lewis and the News’s “I Want a New Drug.”

Legal issues aside, its commercial triumph is undeniable, reigning atop the Billboard charts for three consecutive weeks and cementing its place as a pop culture artifact of the Reagan era.

The music video doubles down on its gimmickry, featuring cameos from a roster of 1980s celebrity faces, making it as visually memorable as it is audibly gripping.

Despite its kitschy sheen, the song’s composition cleverly interlaces bright synthesizer lines with a groove-forward bassline, demonstrating Parker’s knack for crafting toe-tapping melodies suited to the MTV age.

Its Oscar and Grammy nods highlight the paradox of its existence: an ostensibly frivolous film tie-in that transcends its origins, embedding itself into the seasonal soundtrack of Halloween parties worldwide.

Later iterations, like Run-D.M.C.’s 1989 rendition for “Ghostbusters II,” provide further proof of its flexibility, morphing its original spirit into a fusion of rap and pop, though purists might argue the original remains untouchable.

While critics may debate its derivative nature, its staying power across decades is a testament to its unshakable identity as both a pop artifact and a cornerstone of the Ghostbusters franchise.

Featured on the 1984 album “Ghostbusters: Original Soundtrack Album”.

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6 . Black Lace – Do the Conga

Released in 1984 by Black Lace, “Do the Conga” is a quintessential novelty anthem that leans heavily into the band’s penchant for orchestrating collective silliness.

Charting at No. 10 on the UK Singles Chart, the track revels in its unabashedly simplistic directive: get in line, shuffle along, and clap in unison—essentially a musical invitation to abandon all inhibitions at a party.

Its repetitive rhythm and infectious energy aim squarely at keeping tipsy wedding guests and summer camp attendees moving. The production, credited to the Flair label but mysteriously absent of a named producer, won’t win any accolades for subtlety—but subtlety is hardly the goal here.

Black Lace, by now firmly in their groove, followed up their earlier absurdist hit “Agadoo” with this equally peculiar earworm. Lyrically, it’s functional rather than poetic, as efficiency in prompting crowd participation seems to have trumped any creative ambitions.

The accompanying music video mirrors the track’s playful spirit with choreographed conga lines that no doubt stoked its popularity during unbuttoned TV appearances like “Top of the Pops.”

“Do the Conga” thrives not because it’s a masterpiece, but because it assumes its role as a party starter with relentless enthusiasm. It stakes its claim in the pantheon of party playlists where high art steps aside for sheer communal absurdity.

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7 . Indeep – Last Night A Dj Saved My Life

Released in 1982, “Last Night a DJ Saved My Life” by Indeep serves up a quintessential slice of post-disco brilliance, penned by Michael Cleveland.

This track encapsulates a late-night tale of heartache averted by the pulse of a dance floor anthem, anchored by its now-iconic bassline and the omnipresent Roland TR-808, which gives it a rhythmic edge that’s unmistakably of its era.

The lyrics depict a narratively compelling mix of loneliness and salvation, making it both relatable and unabashedly escapist.

Commercially, the single found its way onto dance floors and beyond, breaking into the Top 10 on the US Billboard Club chart (#2) and claiming strong positions internationally, including a #13 spot in the UK and a #2 peak in the Netherlands and Belgium.

The accompanying music video, though released belatedly in 2010, has garnered tens of millions of YouTube views, adding to the track’s enduring status as more than just a retro curiosity.

Though often framed as a one-hit wonder, the song’s cultural afterlife stretches surprisingly far, sampled by acts like Boards of Canada and Paula Abdul, and featured prominently in video games and TV soundtracks ranging from *Grand Theft Auto: Vice City* to *The Assassination of Gianni Versace: American Crime Story*.

Rather than situating itself solely within disco’s waning embers, it strategically straddles an era of transition, leaning into funkier grooves that forecast the dance-heavy momentum of ‘80s pop.

The narrative, centered around a woman emotionally pulled back from the precipice by the “lifesaving” power of music, solidifies its thematic resonance with DJs and their transformative role in shaping nightlife culture.

Clever in its simplicity and forward-leaning in its production, the track remains a vibrant entry point for discussions surrounding dance music’s evolving lexicon, showcasing how the grooves of a single song can stitch together moments of both deep emotional vulnerability and collective euphoria.

If anything, Indeep’s earnest and rhythmic ode to the DJ stands as a small but memorable monument in the timeline of pop-dance hybrids, with the telephone sound effect now a charming time stamp of its 1980s club-play heyday.

Featured on the 1983 album “Last Night A Dj Saved My Life”.

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8 . Chaka Khan – This Is My Night

Chaka Khan’s “This Is My Night” hits like a time capsule from 1985 that’s been sprayed with hairspray and dipped in neon lights.

It’s a confection of high-tech funk, early hip-hop flourishes, and synthesizer overload, all neatly packaged under the production expertise of David Frank and Mic Murphy.

The track struts its way out of the iconic “I Feel for You” album, where it serves more as a supporting player than a headliner on the Billboard Hot 100, scraping in modestly at No. 60.

That being said, it finds a much warmer welcome in the more niche worlds of R&B (No. 11) and the dance floor, where it shoots straight to No. 1, thanks to its 12” remix.

Musically, it leans hard into the era’s love for glossy production, with electric guitars slashing through waves of bright, synthetic beats.

The black-and-white music video, co-starring Wallace Shawn for reasons that remain a delightful enigma, adds a playful juxtaposition to the song’s cool, kinetic energy.

Cultural context matters here—this was the mid-’80s, with pop stars leaning toward artificial textures to keep up with shifting trends, and Khan’s adaptation to this landscape is commendable if calculated.

It might lack the emotional pull of her earlier work, but it compensates with sheer confidence and nightclub-friendly swagger.

While its inclusion in live sets in the mid-’80s feels more like a nod to relevance than genuine artistic triumph, the track feeds into the larger narrative of Chaka Khan as a versatile artist navigating the nascent marriage of funk and electronic dance music.

To this day, the video—dusty VHS aesthetic intact—lives on YouTube as a reminder of an era when music videos still took risks, however quirky or inexplicable they might seem now.

Featured on the 1984 album “I Feel for You“.

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9 . Cameo – Candy

Released in 1986, “Candy” by Cameo is a funk masterpiece with an irresistible groove that bridges genres and decades.

Featured on their album “Word Up!”, the track benefits from Larry Blackmon’s signature charisma and Tomi Jenkins’ sharp songwriting.

The song’s infectious bassline and talk box-infused vocals create a distinct sound that weaves funk, pop, and a tinge of hip-hop into a seamless blend.

Both a chart success and a cultural mainstay, “Candy” climbed to #21 on Billboard Hot 100 and dominated the R&B charts, a testament to its broad appeal.

The song thrives on its ability to turn sweetness into swagger, likening love to the addictive pleasure of candy without veering into saccharine territory.

Its music video, a neon-drenched ode to vibrant ’80s creativity, merges striking visuals with dynamic choreography, solidifying its place in visual and musical memory.

Whether featured at weddings, parties, or on-screen in films like *The Best Man*, the track retains its celebratory energy.

Michael Brecker’s saxophone solo adds just the right touch of jazzy complexity, elevating what could have been merely catchy into something unforgettable.

Sampling from artists like 2Pac underscores the song’s adaptability, proving its beats transcend its era.

Cameo encapsulates the essence of funk, balancing technical craftsmanship with unabashed fun, and “Candy” is the quintessential example of that finesse.

Featured on the 1986 album “Word Up!”.

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10 . Kajagoogoo – Too Shy

Released in 1983, “Too Shy” by Kajagoogoo combines infectious new wave vibes with a synth-heavy arrangement that screams the early ’80s in high definition.

Produced by Duran Duran’s Nick Rhodes and Colin Thurston, the track navigates themes of awkward intimacy through cryptic lyrics that hardly matter once the soaring synths and bassline commandeer your attention.

It dominated the UK Singles Chart for two weeks and became an international juggernaut, hitting number one in Germany and holding top-five positions across Europe and the US.

The music video, directed by Simon Milne, sets the scene in a neon-lit nightclub, awkwardly spotlighting Limahl, whose exaggerated mullet has arguably aged worse than the song itself.

While undeniably catchy, it also tiptoes into “one-hit wonder” territory, often overshadowing the rest of the band’s limited catalog.

Its inclusion in nostalgia films like *The Wedding Singer* and endless MTV reruns has locked it into pop culture’s amber, ensuring its status as both a reminder and relic of the 1980s.

The interplay between a maximalist production style and the band’s fleeting fame makes “Too Shy” a fascinating artifact from an era where excess reigned supreme.

You can thank—or curse—its enduring legacy every time a retro playlist reintroduces you to its saccharine grip.

Featured on the 1983 album “White Feathers”.

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11 . Mel & Kim – Showing Out [Get Fresh At the Weekend]

“Showing Out (Get Fresh at the Weekend)” springs onto the scene in 1986, armed with Stock Aitken Waterman’s glossy production and a rhythm heavily influenced by Chicago’s house music roots.

Far from subtle, the track’s infectious hook, “Get fresh at the weekend,” locks itself into the listener’s brain, embodying the effervescent energy of late ‘80s club culture.

Chart success is immediate in Europe, claiming the top spot in Belgium, the Netherlands, and Switzerland, while in the UK it peaks at a respectable #3.

Across the Atlantic, however, its reception is muted, barely scraping onto the US Billboard Hot 100, though it fares better on the Dance Club Songs chart.

The minimalist production juxtaposes sharp beats with glossy vocal samples, a signature SAW touch, though capped with a synthesized male voice courtesy of Mike Stock that borders on kitsch.

The accompanying video leans fully into 1980s aesthetics, from harem pants to gravity-defying hats, all filmed at London’s Hippodrome nightclub, a frenetic timestamp of the era’s nightlife.

The track was originally slated to be the B-side to “System,” but its undeniable edge bumped the softer track out of the spotlight—thankfully so, as “Showing Out” feels anything but subdued.

Its rise cemented Mel & Kim as unmissable figures of the era, despite their career being tragically short-lived due to Mel Appleby’s premature death.

Critics and nostalgia-driven rankings frequently revisit this track, blending admiration for its boldness with a nod to the over-the-top pop formulas that defined an entire generation of dance music.

Featured on the 1987 album “F.L.M.”.

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12 . Damian – The Time Warp

In 1989, Damian dusts off the glittery theatrics of the original 1975 “Time Warp” and sends it spinning into the neon-drenched world of Hi NRG and disco.

As a cover of the Richard O’Brien-penned cult classic from *The Rocky Horror Picture Show*, this version doesn’t stray far from its tongue-in-cheek Vaudevillian roots, but it cranks up the BPM and glosses it with a late-80s synth sheen.

Released under Jive Records (catalog number JIVE 209), it feels like the kind of track designed for a roller rink where the skaters are more interested in theatrics than balance.

Unlike the original, which managed to peek at #13 on the UK charts and #29 in the US, Damian’s run appears less of a chart-buster and more of a disco curiosity, existing in the shadow of its predecessor’s pop-cultural significance.

But does it succeed on its own merits? Well, that’s the crux—for fans clinging to the jet-black campiness of the original, Damian’s uber-polished reimagining might feel like gilding the lily.

Yet, as a mirror held up to its era, it’s an oddly compelling artifact, capturing the late 80s obsession with dancefloor anthems and a certain disregard for subtlety.

Interestingly, while the original “Time Warp” thrived in its absurd theatricality, this version feels self-consciously performative, less about transgressive fun and more about shiny, mass-market appeal.

Even without a notable video clip to cement its place in the visual lexicon, it serves as a curious nod to the enduring adaptability of this time-traveling earworm.

Ultimately, it’s less the electrified pulse of a genre and more the echo of one, existing comfortably as both a nostalgic nod and a slightly bizarre late-80s disco relic.

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