‘Vous Avez Dit Bizarre’ N°103 – Vintage 80s Music Videos

1 . Depeche Mode – See You

“See You” offers a snapshot of Depeche Mode navigating life after Vince Clarke’s exit, an audible tug-of-war between youthful sweetness and the darker sonic palette they’d later lean into.

The track is a polished example of early ‘80s synth-pop, with its Roland MC4 sequencer bassline bouncing along like it’s programmed to evoke both melancholy and sunshine simultaneously.

Martin Gore’s lyrics feel like a love letter drafted but never sent, teetering between yearning and resolution.

While the single hit number 6 on the UK charts, its real charm lies in its DIY spirit, with production elements that feel like they’re caught between bedroom tinkering and professional polish.

The accompanying music video, helmed by Julien Temple, takes a quirky tour through Woolworths and Hounslow station, mixing the mundanity of red phone booths with the borderline awkwardness of Alan Wilder’s early appearances.

Despite the band’s disdain for the video, the song itself remains irresistibly hummable, capturing a fleeting moment in Depeche Mode’s evolution where sentimentality and experimentation briefly embraced.

Featured on the 1982 album “A Broken Frame”.

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

2 . Debbie Harry – Rush Rush

Released in the neon-lit haze of 1983, “Rush Rush” by Debbie Harry brings Giorgio Moroder’s synth-heavy production to the forefront, blending icy glamour with an undercurrent of danger.

This standalone single, plucked from the morally murky universe of *Scarface*, carries a lyrical wink to its cinematic counterpart—its playful use of the word “llello” underscores the cocaine-fueled excess of the era.

Harry, stepping further from Blondie’s shadow post-breakup, straddles the line between calculated allure and edgy detachment in her delivery, echoing her signature cool while signaling her willingness to experiment.

The song’s simmering beat feels more like a sonic promise of something veiled, rather than an explosive climax, positioning it as a moody complement to the film rather than a standalone pop juggernaut.

Though chart impact was modest—scraping the *Bubbling Under Hot 100* at 105 and faring mildly better internationally—its legacy endures in fragments, popping up in unexpected cultural corners like *Grand Theft Auto III* and the Happy Mondays’ ironic 2007 punk-funk cover.

The backing track sparkles with Moroder’s trademark arpeggiators, its glossy sheen punctuated by Harry’s understated vocal nuances. Yet for all its period-accurate tropes—shiny production, film tie-in glam—“Rush Rush” exudes an odd mix of menace and playfulness that refuses to let it sink into mere nostalgia.

Featured on the 1983 album “Scarface: Music from the Original Motion Picture Soundtrack “.

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3 . Genesis – Illegal Alien

“Illegal Alien” stands as one of Genesis’s most polarizing tracks, blending satirical humor with sharp social commentary on immigration challenges. Written by Phil Collins, Tony Banks, and Mike Rutherford, the song draws inspiration from the band’s personal experiences with U.S. visa issues while on tour in the early ’80s.

The lyrics adopt the perspective of an undocumented immigrant navigating bureaucratic obstacles to cross the border. By incorporating a mariachi-inspired bridge and Phil Collins’s intentionally exaggerated Latin American accent, the track underscores its satirical tone. Yet, this very approach has invited extensive criticism for perpetuating offensive ethnic stereotypes, especially in its accompanying music video. The portrayal of the band members in sombreros and exaggerated Mexican garb further amplifies these concerns.

Musically, the melody is upbeat and laced with tongue-in-cheek charm, but its reception has been divisive. While the song peaked modestly at number 44 on the Billboard Hot 100, its controversial elements have overshadowed its chart performance over time. Edited versions of the track omit a contentious lyric in its bridge, highlighting the balancing act Genesis attempted with satire and sensitivity.

Whether interpreted as a biting critique of immigration systems or dismissed as tone-deaf parody, “Illegal Alien” reflects Genesis’s willingness to court cultural tensions even as it edges into problematic territory.

Featured on the 1983 album “Genesis“.

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

4 . The The – Slow Train To Dawn

“Slow Train to Dawn” occupies a curious space in The The’s catalog, balancing the confessional intensity of Matt Johnson’s songwriting with a slicker, more radio-friendly approach.

The duet with Neneh Cherry injects the track with a tense yet alluring dynamic, her slightly raw edge countering Johnson’s brooding delivery.

Cherry’s involvement came after Johnson sifted through dozens of demo tapes, eventually zeroing in on her vocal presence, fresh from her work with experimental outfit Float Up CP, a choice that adds layers to the song’s emotional texture.

Lyrically, the track examines fragility and dysfunction in relationships, with Johnson openly admitting its semi-autobiographical undertones.

There’s an unflinching exploration of infidelity and insecurity, reframed through a lens that emphasizes the narrator’s vulnerability, a rare and pointed critique of masculine weaknesses.

The music video provides a theatrical, almost surreal visual pairing, with Cherry perilously tied to train tracks as Johnson captains a steam engine—a metaphor-heavy tableau that matches the song’s psychological intensity.

Chart-wise, it made modest waves, peaking at 64 in the UK and reaching 19 in Ireland, though its reputation arguably rests more on its artistic merit than its commercial impact.

As one of the standout pieces from the 1986 “Infected” album, which itself was a commercial success, the track encapsulates the tension between artistic precision and chart-oriented ambition during this phase of The The’s career.

Featured on the 1986 album “Infected“.

Lyrics >> More by the same : Official Site

5 . Madness – One Step Beyond

In 1979, Madness bursts into the British music scene with “One Step Beyond,” a track that doesn’t so much invite listeners as it does grab them by the collar and yank them onto the dancefloor.

Fueled by the frenetic energy of ska, the song is less about lyrical exploration and more about sweaty, foot-stomping chaos, encapsulating the rebellious spirit of the late ‘70s 2Tone movement.

The brass section blares with the abandon of a band that barely believes they’re allowed in the studio, while the rhythm section marches like it’s leading a parade in some alternate, ska-drenched universe.

The accompanying music video is a charmingly chaotic affair, filmed on a low-budget stage that feels small enough to barely contain the unruly enthusiasm of Suggs and the gang.

And that’s key—this isn’t polished pop; it’s all elbows and awkward spins, a soundtrack to nights you wouldn’t tell your parents about.

It’s no surprise the track became a cornerstone of British ska, its eccentricity a flag waved proudly by those who refused to take themselves too seriously.

The album that surrounds it, with tracks like “My Girl” and “Night Boat to Cairo,” tips its hat to pop melody while keeping both feet firmly planted in ska’s jittery restlessness.

Few songs can claim to sound like a party dipped in chaos and injected directly into the bloodstream.

“One Step Beyond” never promised sophistication, but it gave plenty of reasons to slip on a pair of checkered loafers and lose yourself in the mess.

Featured on the 1979 album “One Step Beyond…“.

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

6 . Talking Heads – Once in a Lifetime

The hypnotic pulse of “Once in a Lifetime” reads like a fever dream spun through a prism of existential dread and funky rhythms.

It’s the kind of track that interrogates your life choices while making your feet betray your brain.

The song’s production, courtesy of Brian Eno and fueled by Afrobeat and early hip-hop influences, serves a bubbling backdrop to David Byrne’s spoken-sung sermonizing.

Byrne comes off as your eccentric uncle at Thanksgiving, earnestly questioning how you arrived at this very moment and whether it was worth the autopilot trip.

The contrast between his spoken existential crises and the track’s elastic grooves creates a tension that’s oddly exhilarating.

The call-and-response chorus feels like a communal, yet deeply personal confession.

The video, a patchwork of spastic movements and ritualistic imagery, turns Byrne into something between a possessed prophet and an overstimulated mime.

Though initially stumbling on the charts, it found salvation through MTV, where its odd visual language struck a chord with disoriented early ’80s viewers.

The Hammond organ swell towards the end feels cathartic, as if reaching a hard-won revelation, but the lyrics leave things deliciously unresolved.

As much a philosophical inquiry as it is a groove-heavy earworm, the song lands somewhere between a midlife crisis and a dance party you’ll question later.

Featured on the 1980 album “Remain in Light“.

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7 . The Boomtown Rats – The Elephants Graveyard

The Boomtown Rats’ “The Elephants Graveyard” stakes its claim in the chaotic post-punk terrain of 1980 with an unusual blend of reggae-inflected grooves and sharp social critiques.

Its lyrics excavate gritty issues like corruption and inequality, cloaking them in vivid metaphors of elephants and the ominous allure of a graveyard.

Tucked into their album *Mondo Bongo*, this track shares space with the more commercially triumphant “Banana Republic,” yet carves out its own niche as a darker, more brooding sibling.

Tony Visconti’s production finds balance between the track’s reggae rhythm and punk energy, delivering a sound both eclectic and unsettling.

The contrast between Geldof’s biting vocal delivery and the song’s infectious rhythm feels almost theatrical—justice wrapped in an ironically danceable package.

Critical reception was predictably polarized, with American listeners appearing more receptive to its experimental leanings than their British counterparts.

Over time, “The Elephants Graveyard” has aged into a compelling artifact of its era, offering commentary brimming with both defiance and ambivalence.

Featured on the 1980 album “Mondo Bongo”.

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

8 . ABC – S.O.S.

“S.O.S.” by ABC is a slice of slick, synth-driven pop that glides through the sonic palette of the early 1980s with calculated precision.

Released in 1984 as part of their album “Beauty Stab,” this track reflects the band’s pivot towards a slightly edgier, guitar-infused sound, though its hooks remain firmly rooted in their signature pop sensibilities.

Clocking in at 4:48, the song abstains from overcomplicating its message, addressing the universal themes of emotional distress and longing in love, set against a backdrop of polished production.

The melody cycles through clean, sharp synth lines, paired with the kind of yearning vocal delivery that fits snugly into the era’s pop blueprint.

Its accompanying B-side, “United Kingdom,” offers a briefer, less flashy counterpart at 3:19, serving as a curious juxtaposition without overshadowing the main act.

Though failing to break into the top tier of the UK Singles Chart—peaking at a modest No. 39—the track is a time capsule of a culturally rich, transitional moment in the British music scene.

The remastered music video, available on YouTube in crisp HD, gives the song a second wind, relying heavily on nostalgia rather than innovation to attract its audience.

While it is not anthemic by ABC’s standards, “S.O.S.” is far from disposable, holding its own in the band’s catalog as a polished but not overly ambitious effort.

Featured on the 1983 album “Beauty Stab”.

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

9 . Time Zone – World Destruction

“World Destruction” by Time Zone is a peculiar beast of 1984, colliding punk’s sneer with hip-hop’s bravado in a way that feels both chaotic and calculated.

The collaboration between Afrika Bambaataa, the architect of hip-hop’s electro foundations, and John Lydon, the mouthpiece of punk’s nihilism, creates a track teetering between genres and ideologies.

Produced with Bill Laswell’s knack for sonic experimentation, the song drills into Cold War anxiety, throwing nuclear dread, skepticism of authority, and systemic inequality into a blender of jagged beats and blunt vocal exchanges.

Lydon rants and wails over a mechanical groove, while Bambaataa anchors the chaos with his steady cadence, forming a union as uneasy as the topics they’re tackling.

Its release predates the rock/rap hybrids of the late ’80s and ’90s, placing it on the timeline as a daring precursor rather than a polished blueprint.

From its raw penciling of geopolitical dread to its rough-edged production, it stands as a time capsule of paranoia and rebellion in audio form.

Despite offering a multitude of mixes, including the dense “Meltdown Remix,” the original track’s tension and abrasive charm remain its most potent elements.

It’s not a smooth listen, nor does it try to be; its charm lies in its willingness to provoke, grate, and confront head-on.

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10 . Mötley Crüe – Smokin’ In The Boys Room

Mötley Crüe’s “Smokin’ in the Boys Room” isn’t just a cover; it’s a full-throttle glam-metal reinterpretation of Brownsville Station’s cheeky 1973 hit.

This version swaps out the original’s stomping groove for a slicker, more theatrical edge, fitting comfortably into the band’s flamboyant 1985 *Theatre of Pain* aesthetic.

While the harmonica solo, credited to Vince Neil, was performed by Mickey Raphael, the oversight feels emblematic of the band’s loose relationship with precision–rebellion often trumps correctness here.

The track’s blend of humor and mischief caught fire, becoming their first Top 40 hit and anchoring the album’s success amidst an era of questionable eyeliner choices.

Its accompanying music video, set in a school rife with youthful disobedience, veers into surrealism as a student is yanked through a mirror and into a world of leather and chaos led by the band.

At its core, “Smokin’ in the Boys Room” thrives on nostalgia and anti-authoritarian grins, marking a sly, ironic triumph for a group known for turning teenage delinquency into an art form.

Featured on the 1985 album “Theatre of Pain”.

Lyrics >> More by the same : Official Site

11 . Diesel Park West – All the Myths on Sunday

“All the Myths on Sunday” by Diesel Park West emerges from the late ’80s alternative rock scene, dripping with a distinct West Coast fragrance drawn from the smoggy echoes of the ’60s.

It channels the jangling DNA of Moby Grape and Buffalo Springfield, seasoning its riffs and harmonies with a nostalgic wistfulness that’s equal parts reverent and slightly worn.

Originally released in 1989 under EMI’s Food Records imprint, the song barely crept into the top 100 charts, peaking modestly at 66—a blip on the radar rather than a stake in the ground.

Its lyrics meander through societal critique, offering a sardonic glance at collective norms but refusing to push into heavy-handed moralizing territory.

The band—led by John Butler, flanked by Rick Willson and a cast that included Moth Smith, Geoff Beavan, and Rich Barton—was, by this point, working as a well-oiled machine, even in the absence of breakout fame.

Though drenched in layered harmonies and earnest intent, the tune lacks a defining punch that could shove it beyond its modest cult-following status.

The production cleanly curates its influences but feels tethered to its inspirations rather than evolving past them.

A relic of its era, its appeal lies more in endorsing alternative rock’s simmering past than challenging its future.

Featured on the 1989 album “Shakespeare Alabama”.

Lyrics >> More by the same : Official Site

12 . Heaven 17 – Temptation

Released in 1983, Heaven 17’s “Temptation” is the kind of track that feels both slickly constructed and unapologetically grandiose.

The song straddles the line between synth-pop precision and orchestral excess, layering Glenn Gregory’s commanding baritone against Carol Kenyon’s soaring guest performance, which injects a sense of urgency and theatricality.

Its juxtaposition of icy synthesizers with a rich, swelling orchestral arrangement—expertly scored by John Wesley Barker—places it somewhere between nightclub cool and cinematic melodrama.

Borrowing from the visual language of German Expressionism, the Steve Barron-directed video adds an abstract intensity, though the absence of Kenyon, due to disputes over pay, leaves a conspicuous gap in the narrative fabric.

Not content to let it rest in a single era, the song has been reinterpreted and remixed several times, most successfully in 1992 when Brothers in Rhythm gave it a glossy dance-floor spin, proving its ability to reinvent itself without losing its distinct edge.

Despite—or perhaps because of—its over-the-top ambition, “Temptation” stands as a towering piece of ’80s pop that refuses to be embarrassed by its own sense of drama.

Featured on the 1983 album “The Luxury Gap”.

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