Bananarama, Japan, INXS, Elvis Costello & The Attractions, The Boomtown Rats, Chas and Dave, The Stranglers, New Order, Men Without Hats, Eurythmics, The Proclaimers, The Damned
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (01/52) BUT … in the Eighties 80s.
Here, they are reunited in one glorious playlist. Enjoy!
For TWENTY FOUR more ‘Vous Avez Dit Bizarre’ – Vintage 80s Music Videos – week 01/52 – click here and here
Tracklist
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1 . Bananarama – Cheers ThenReleased in late 1982, “Cheers Then” by Bananarama occupies an intriguing space in their early catalog, offering a sobering ballad amidst their otherwise upbeat repertoire. Co-written by Sara Dallin, Siobhan Fahey, and Keren Woodward, the song reflects a brief departure from the group’s typical flirtation with pop effervescence, choosing instead a more melancholic tone wrapped in introspection. The track’s initial reception, peaking at a mere 45 on the UK Singles Chart, led to some reevaluation within the group, with Fahey later describing it as a pivotal moment to reassess their approach toward the industry’s ruthless demands. Critics have, in retrospect, applauded “Cheers Then” as quietly poignant, even as its chart performance fell short of its predecessors like “Shy Boy.” The music video, a peculiar mix of whimsy and satire, draws heavily from vintage cinema, with Keith McMillan reportedly threading in nods to “The Sound of Music.” Among the intended theatrics, scenes filmed in Salzburg provide a strange yet compelling contrast to the song’s somber core, as though the group were daring listeners to find humor in heartbreak. While the production by Barry Blue gave the piece a polished sheen, it battled against an audience perhaps not yet ready for such a shift in tone from the trio. More than just an artistic experiment, “Cheers Then” captures a fleeting moment in the band’s balance between vulnerability and pop sensibility, a reminder that even the most polished acts occasionally tremble beneath the weight of expectation. Featured on the 1983 album “Deep Sea Skiving”.
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2 . Japan – Visions Of China“Visions of China” by Japan is a cornerstone of the band’s 1981 album *Tin Drum*, encapsulating their fascination with blending sharp electronic textures and Asian musical motifs. Released on October 16, 1981, the track climbed to No. 32 on the UK Singles Chart, cementing its place in their evolving discography. The song’s production leans heavily into synthesizers and intricate percussion, reflective of the band’s progressive shift toward avant-garde pop. A curious detail is the B-side of the single, featuring a remix of “Taking Islands in Africa,” co-authored by David Sylvian and Ryuichi Sakamoto—an unexpected collaboration preluding their future creative endeavors. The promotional video for “Visions of China,” directed by Russell Mulcahy, received notable airplay during the early days of music television, adding a visual layer to its mystique. Fans of Japan often highlight the track’s dynamic interplay between its quirky fretless bass, arresting drum patterns, and Sylvian’s evocative vocals—both introspective and enigmatic in equal measure. While celebrated by some for capturing an era’s earnest experimentation, critical voices contend the song’s cultural borrowings occasionally teeter near stylistic pastiche. Its inclusion in live recordings, such as *Oil on Canvas*, and compilations like *Exorcising Ghosts* enriches its archive presence, but opinions vary on its long-term appeal versus other cuts from the band’s catalog. “Visions of China” stands as a snapshot of Japan’s willingness to embrace ambiguity, challenge sonic norms, and carve a unique space in early ’80s music culture. Featured on the 1981 album “Tin Drum”.
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3 . INXS – New Sensation“New Sensation” pulsates with an infectious rhythm that bridges rock with dance, showcasing INXS at a creative high point. Andrew Farriss crafts a magnetic guitar riff that underscores the track, while his brother Tim Farriss and Kirk Pengilly’s saxophone seamlessly intertwine to enrich the sound. Michael Hutchence’s vocals radiate a vivacious energy, urging listeners to grab life by the horns with lines like “Live, baby, live—now that the day is over.” A banjo, slyly tucked into the mix via a sampler, adds a quirky texture to an already layered composition. Not without humor, Hutchence’s shout of “trumpet” before a sax solo is a cheeky nod to internal band debates about brass instrumentation. The music video, a burst of stylish ’80s aesthetics helmed by Richard Lowenstein, effectively complements the song’s upbeat dynamism and received heavy rotation across music networks. Commercially, the single struck gold, particularly in the U.S., where it climbed to No. 3 on the Billboard Hot 100, cementing its global resonance. Bringing flair to international stages, “New Sensation” remained a mainstay in live shows and compilations, its longevity further underscored through high-profile ad placements and film soundtracks. From subtle instrumental tweaks to a playful edge in its arrangement, the song captures a vibrant snapshot of INXS’s artistic personality and enduring appeal. Featured on the 1987 album “Kick“.
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4 . Elvis Costello & The Attractions – ClublandElvis Costello’s “Clubland” opens his fifth studio album, *Trust*, with an air of unnerving sophistication. The track weaves together spiky new wave tension and jazzy flourishes, anchored by Steve Nieve’s sharp piano lines and Pete Thomas’s precise, restless drumming. Lyrically, Costello paints a stark portrait of nightlife’s hollow promises, laden with cynical observations that slice through the glitz of club culture. His vocal delivery is equal parts sneer and lament, balancing detachment with an undercurrent of weariness. There’s a biting wit in its circular arpeggios, a subtle nod—and slight parody—of the polished reggae-tinged sensibilities of The Police. Costello himself half-joked that the song could be seen as *“Message in a Bottle” with a shadowy detour into urban malaise.* Commercially, “Clubland” failed to make much noise, marking a dip in Costello’s chart performance during the early ’80s, peaking at a mere 60 on the UK rankings. Its accompanying music video, shot on Jersey with noir-esque staging, stands as a curious artifact, replete with local quirks, including an unassuming magistrate’s daughter sharing screen time with Costello’s characteristic sneer. Critically, however, the song garners respect for its complex arrangement and evocative storytelling, pulling listeners into the friction of after-hours drama. Though Costello later admitted some frustration with the studio version, citing its relative lack of punch compared to live renditions, “Clubland” remains a quintessential snapshot of his early 1980s approach—brash, exploratory, and laden with a certain urban cynicism. Featured on the 1981 album “Trust”.
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5 . The Boomtown Rats – Diamond SmilesCommercial pressures, high society, and a tinge of morbidity collide in “Diamond Smiles,” one of The Boomtown Rats’ most polarizing songs. Released in late 1979 and penned by frontman Bob Geldof, the track recounts the tragic story of a debutante meeting a grim end, possibly overshadowed by her own performative façade. It didn’t quite replicate the massive success of “I Don’t Like Mondays,” but cracking the UK Top 15 still made a dent—striking a balance between audacious storytelling and commercial appeal. The song sparked controversy, with hospital staff in Glasgow lobbying for its removal from airwaves due to supposed connections with a real-life tragic event at the time. Musically, it’s ambitious—structured tightly around a deceptively whimsical melody that accentuates its grittier undercurrent. Much credit goes to Robert John “Mutt” Lange’s sophisticated production, which cloaks the heavy narrative in sleek instrumentation, lending it a peculiar levity. Its hiccupping rhythm, as some critics noted, adds an undeniable charm, but not everyone was sold on its tonal duality or suspect use of despair for thematic flair. Airing on “Top of the Pops” could have helped its longevity, but a lighting technician strike during its run seemed to dim its wider potential. Retrospectively, the song functions as a snapshot of a band unafraid to flirt with discomfort while navigating their ascent in an era both opulent and unrelenting. Featured on the 1979 album “The Fine Art of Surfacing”.
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6 . Chas and Dave – My Melancholy BabyChas & Dave’s rendition of “My Melancholy Baby” brings a cockney twist to one of the early 20th century’s most enduring ballads. Originally penned in 1912 by Ernie Burnett and George A. Norton, this track found its way into the duo’s 1981 album, *Job Lot*, an eclectic collection of their signature pub-fueled, music hall-inspired sound. While the song itself could hardly be labeled a modern chart contender, the broader album managed a respectable No. 25 on the UK Albums Chart, holding steady for eight weeks. This mix of traditional nostalgia and pub humor defined the Rockney genre—a cheeky blending of rock and cockney influences that remains unapologetically London at heart. “My Melancholy Baby” itself may feel like an odd relic on the album, but paired with hits like “Rabbit,” a playful bickering anthem with its infectious hooks, it reflects how deeply Chas & Dave were rooted in the art of storytelling through sound. The duo’s self-production on *Job Lot* underscores their insistence on authenticity, sidestepping glossy trends for arrangements that feel raw and lived-in, like the bustling pubs they often frequented. While countless artists have revisited this melancholic classic in crooning tones over the years, the version presented here veers off script, positioning itself more as a nod rather than a solemn homage to its wistful origins. In live performances, including their tours in the 1980s, Chas & Dave’s delivery leaned heavily on charm, peppering their sets with both humor and pathos, yet never losing the communal warmth for which they were beloved. The track, stripped of overt polish, exemplifies the way the duo managed to walk the line between tradition and satire, defying expectation while reveling in the simplicity of their influences.
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7 . The Stranglers – European Female“European Female” by The Stranglers marks a distinct transition in the band’s sonic palette, moving away from the aggression of their punk roots toward a refined, synth-laden minimalism. Released in January 1983 as the lead single from their album “Feline,” the track aligns with their experimental tendencies, blending understated instrumentation with an almost hypnotic rhythm. Jean-Jacques Burnel’s understated vocal delivery lends the song a restrained intensity, complementing the evocative lyrics exploring themes of allure and mystery, tied to a European cultural aesthetic. The track’s production, co-handled by the band alongside Steve Churchyard, was polished without veering into excess, using space deliberately to create an air of calculated detachment. Charting impressively at number 9 on the UK Singles Chart and staying there for eight weeks, its commercial success was bolstered by multiple TV performances, including a memorable appearance on “Top of the Pops.” Recorded in Brussels at the ICP Recording Studios, the album “Feline” later achieved Gold certification in the UK, a testament to the band’s ability to evolve without alienating their established audience. Though “European Female” stands apart from the edgier fare of their past, it remains a pivotal entry in their discography, reflecting the era’s shifting landscape while keeping the band’s identity intact. The full title, “The European Female (In Celebration Of),” underscores the track’s thematic ambition, layering its melodic restraint with a sense of cultural infatuation that leaves enough ambiguity to intrigue. Featured on the 1983 album “Feline”.
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8 . New Order – Touched By The Hand Of GodNew Order’s “Touched by the Hand of God” exists in a curious limbo, both a standalone artifact and a companion to the band’s greater discography. Released in December 1987, it occupies a rarefied space, neither tied to a formal studio album nor a mere B-side throwaway. For aficionados of New Order, it functions like a wink—a track recorded during the sessions for “Brotherhood,” only later roped into the acclaimed *Substance 1987* compilation. The song’s production carries the mark of the era, with Stephen Hague aiding the band in crafting a sleek yet quintessentially New Order sound. Its sonic palette feels familiar, even comforting, aligning with their synth-driven repertoire without deviating too far into experimental territory. Inclusion in the film *Salvation!* added a commercial sheen, though it’s the song’s satirical music video that stole the spotlight. Directed by Kathryn Bigelow, the visual riffed on the absurdities of glam-metal culture, with band members donning wigs and leather in a self-aware performance piece dripping in irony. “Touched by the Hand of God” charted respectably across different markets, peaking at No. 20 on the UK Singles Chart and No. 1 on the UK Independent Singles Chart. Stateside, the track had a more subdued impact, nudging to No. 36 on dance charts. Yet the song’s cultural footprint transcended its positions on any list. The presence of Bill Paxton in the music video adds an unusual twist to its legacy, while the track’s inclusion in *Substance 1987* situates it as a small but significant piece of New Order’s oeuvre. Constructed with the band’s trademark collective songwriting, the song embodies themes of introspection and reflection within their layered, synthesized arrangements. Oddly enough, its remix iterations, including the “Touched by the Hand of Dub,” encapsulate the late ’80s fascination with molding tracks for alternative dancefloors. Behind Factory Records’ catalogue number FAC 193 lies a track both ordinary and extraordinary—a snapshot of late-era New Order grappling with their image, sound, and place in pop’s shifting sands. It’s part send-up, part celebration, and above all, another thread in the ongoing narrative of a band that refuses categorization.
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9 . Men Without Hats – Safety DanceReleased in 1982, “Safety Dance” by Men Without Hats is a synth-driven anthem of rebellion wrapped in a frothy New Wave package. Not content with club rules banning pogo dancing, Ivan Doroschuk turned his frustration into a quirky manifesto of nonconformity and self-expression. The track’s pulsating rhythm and infectious hooks propelled it onto the charts, peaking at No. 3 on the Billboard Hot 100 and landing atop the U.S. Dance chart while also reaching No. 1 in South Africa. The accompanying music video is a fever dream of medieval oddities, featuring maypoles, morris dancers, and a small English village inexplicably enlisted for Doroschuk’s theatrical vision. Directed by Tim Pope, whose work with The Cure cemented his penchant for the eccentric, the visuals lean into a whimsical surrealism, at odds with the song’s subversive undertones. Beyond the charts, its afterlife has been equally peculiar—permeating pop culture through appearances in “Glee” and “The Simpsons” and even bizarre placements in films like *Biodome* and *Hot Tub Time Machine.* Though rarely celebrated as high art, the track’s unabashed quirkiness and defiant undertones give it a peculiar staying power, whether as a nostalgic dance-floor filler or the rallying cry of those perpetually outside the margins. Featured on the 1982 album “Rhythm of Youth “.
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10 . Eurythmics – ShameEurythmics’ “Shame,” from their experimental 1987 album *Savage*, is a synth-pop ballad that critiques the surface-level values perpetuated by media and society. Written and produced by Annie Lennox and Dave Stewart, the track layers ethereal synths with Lennox’s introspective vocals, delivering a sound that feels both lush and restrained. Lyrically, it takes aim at cultural icons and shallow aspirations, referencing The Beatles’ “All You Need Is Love” and The Rolling Stones’ “We Love You,” seemingly questioning their commodification over time. Despite being the second UK single from *Savage*, “Shame” barely edged into the UK Top 50 at No. 41 and failed to chart in the US, a surprising turn for a group accustomed to higher placements. Critics, however, were kinder; its “icy passion” and minimalist production were widely noted, with some praising its subtle depth as a welcome departure from radio-friendly convention. The accompanying Sophie Muller-directed video amplified the song’s introspection, juxtaposing subdued imagery with hints of surrealism drawn from the album’s overarching themes. Though commercially underwhelming, “Shame” remains a track that highlights Eurythmics’ willingness to challenge expectations and embrace a multidimensional artistic vision at the cost of mainstream appeal. Featured on the 1987 album “Savage“.
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11 . The Proclaimers – Letter From AmericaThe Proclaimers’ “Letter From America” emerges as a compelling blend of historical weight and socio-political commentary, capturing the poignancy of Scotland’s struggles through its emigration narrative. Lyrically, the song stitches together the devastation of the Highland Clearances—where entire communities were displaced—with the then-contemporary economic despair under Thatcher’s policies, bringing an emotional resonance that feels both specific and universal. The brilliant simplicity of its chorus, paired with the distinctive regional pronunciation of Charlie and Craig Reid, creates an authenticity rarely found in mainstream pop. The 1987 re-recording, orchestrated by Gerry Rafferty, added an orchestral depth that enhanced its appeal, pushing it to No. 3 on the UK charts while making its mark across Europe. Even its 10” vinyl format, with an innovative double groove that alternated between acoustic and orchestral arrangements, reflected the band’s ingenuity. While inherently tied to its Scottish roots, the song’s commentary on migration and loss remains universally relatable, explaining its enduring relevance in pop culture—from film soundtracks to political debates. Its cover artwork, juxtaposing Nicol’s somber “Lochaber No More” with a photograph of a shuttered steelworks, encapsulates the melancholia and resilience at the heart of the track. Amid its commercial success and defining cultural identity, “Letter From America” also sparked moments of political tension, as seen when its appropriation during a 2014 independence debate drew a pointed rebuttal from the fiercely pro-independence Reid brothers. Far from a relic of the past, the song thrives in its contradictions—achingly nostalgic yet narratively sharp—a reminder that music can both carry the weight of history and surge with contemporary urgency. Featured on the 1987 album “This Is the Story”. |
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12 . The Damned – Anything“Anything” by The Damned serves as a mid-’80s snapshot of a band navigating past glories while flaunting their evolving style. Released in 1986, the track anchors their seventh studio album, a work that flirted with chart relevance at number 40 on the UK Albums Chart. As a single, it fared moderately well, climbing to number 32, but it lacked the grit of their earlier raw energy. Produced by Jon Kelly—he of Kate Bush and Wings fame—the song leans heavily into polished production and bombastic arrangements that seem underpinned by the excesses of the era. The music video offers an almost dreamlike collage of Gothic and surreal visuals, underscoring the group’s flair for dramatics, while teetering on the brink of self-parody. Frontman Dave Vanian’s signature baritone gives the track its center, supported by Captain Sensible’s guitar work, Roman Jugg’s imposing keyboard layers, and the rhythm section of Bryn Merrick and Rat Scabies. Though not a defining moment for the band, “Anything” represents their willingness to adapt within the shifting sands of the 1980s rock landscape. Featured on the 1986 album “Anything”.
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