We remember Jamaican singer Mikey Dread

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‘Music For The Dancers’ N°334 – Vintage 80s Music Videos

UB40’s "Rat in Mi Kitchen" combines an upbeat reggae rhythm with political edge, using a metaphorical rat to critique Margaret Thatcher’s government. Catchy horns and Ali Campbell’s vocals drive its charm. Blondie’s "Call Me," penned for *American Gigolo*, captures late-night energy with Debbie Harry’s dynamic delivery atop Giorgio Moroder’s production, reigning atop charts with its infectious swagger.

Elvis Costello’s energetic rework of "I Can't Stand Up for Falling Down" transforms heartbreak into danceable urgency, while Freeez’s electro-funk "IOU" pushes early ‘80s sampling tools for a slick, tech-forward vibe. Simply Red’s funk-inspired "The Right Thing" melds polish with Mick Hucknall’s bold vocals, and Matt Bianco’s lively "Get Out of Your Lazy Bed" spreads jazz-infused cheer, daring listeners to stay put.

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‘Music For The Dancers’ N°115 – Vintage 80s Music Videos

Kool & The Gang’s "Get Down On It" combines funky basslines with vibrant horn bursts, embodying 1980s party vibes. Billy Ocean’s "When the Going Gets Tough, the Tough Get Going" shines as a catchy anthem with a dynamic brass section and a playful music video featuring stars like Michael Douglas. Phil Collins' "Sussudio" stands out with its infectious synth grooves and a bold, Minneapolis-inspired sound, capturing the energy of mid-'80s pop.

The Whispers' "And the Beat Goes On" delivers polished funk with a memorable rhythm, while Altered Images’ "I Could Be Happy" balances wistful lyrics with upbeat tempos. On the hip-hop front, Eric B. & Rakim's "Move the Crowd" exemplifies lyrical precision and minimalistic beats. Meanwhile, UB40 and Afrika Bambaataa’s "Reckless" blends reggae and electro vibes, creating a fascinating, albeit uneven, collaboration.

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‘We Are Live’ N°11 – Vintage 90s Music Videos

The page spotlights standout tracks with raw energy and rebellious tones. Levellers’ folk-rock anthem "One Way" channels defiance, while Blur’s "Beetlebum" drifts into hazy introspection. Placebo’s "Every You Every Me" pairs angst with sharp lyrics, and Queen’s "Tie Your Mother Down" blends gritty riffs with irreverence. Manic Street Preachers’ "Motown Junk" delivers biting critique, and The Only Ones’ "Another Girl, Another Planet" fuses punk urgency with melodic charm.

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‘Music For The Dancers’ N°521 – Vintage 80s Videos

George Clinton’s “Atomic Dog” barks into funky, synthetic chaos, while Def Jef’s “Droppin’ Rhymes on Drums” fuses intricate lyricism with Etta James' smoky vocals. Patrice Rushen’s “Never Gonna Give You Up” grooves with finesse, contrasting with Alisha’s bubbly freestyle hit “Baby Talk.” Meanwhile, Barrington Levy’s reggae anthem “Here I Come” stands timeless, and Steinski’s “We’ll Be Right Back” flips media snippets into a sharp anti-commercial statement.

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‘Music For The Dancers’ N°317 – Vintage 80s Music Videos

Rob Base and DJ EZ Rock’s “Get on the Dance Floor” hits hard with late-’80s club energy, sampling The Jacksons and Black Riot, while Kid 'N Play's “2 Hype” keeps spirits high with playful beats and iconic choreography. Imagination’s “Changes” blends early-’80s funk and synth, and Smiley Culture’s “Police Officer” mixes humor with pointed social critique. UB40 smooths Jimmy Cliff’s “Many Rivers to Cross” into reggae-pop tenderness, and Tiffany’s “Radio Romance” shines as sugary teen pop. Bowie’s “John, I’m Only Dancing” shifts from glam rock flair to funky disco grooves, showcasing his infectious, provocative creativity.

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This week In ’80s Throwback’ 03/52

UB40’s “Food for Thought” hits hard with its raw critique of inequality, pairing melancholy A minor chords with reggae rhythms, while Queen's "I Want to Break Free" shines as a defiant anthem fueled by bold theatrics and signature synths. INXS’s “Original Sin” blends provocative themes with Nile Rodgers’ polished production, and Irene Cara’s “Flashdance… What a Feeling” pulses with empowerment under Giorgio Moroder’s synth mastery. Def Leppard’s “Photograph” defines ‘80s rock ambition with its soaring riffs and polished harmonies, while Sade’s “Is It a Crime?” layers vocal grace over slow-burning brass. Rounded out by Whitesnake’s “Love Ain’t No Stranger,” full of glam excess and gripping emotion, these tracks spotlight the era’s diverse sounds and styles.

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