‘Vous Avez Dit Bizarre’ N°305 – Vintage 80s Music Videos

1 . M – Moonlight And Muzak

“Moonlight and Muzak” radiates a vibe that’s equal parts romantic reflection and sharp social commentary, wrapped neatly in a Synthpop/New Wave package.

Released in 1979 and snugly sitting at #33 on the UK charts, it serves as a breezy soundtrack to the clash of cultures and the quiet hum of Cold War nerves.

Robin Scott, the brains behind M, pairs synthetic beats with a wistful melody, creating a soundscape that feels both expansive and eerily intimate.

The lyrics, dotted with cosmic metaphors, reflect longing and isolation, grounding the track in a relatable human ache while hinting at political tensions bubbling beneath the surface of the era.

No official video accompanies this track, which is almost fitting; its essence seems to live in fleeting moments and city backdrops, rather than polished visuals.

While it never reached the dizzying heights of “Pop Muzik,” this follow-up works its magic through subtlety—a quieter statement from an artist navigating the intersections of globalism, melancholy, and mystery.

Featured on the 1979 album “New York • London • Paris • Munich”.

Lyrics >> More by the same : Wikipedia

2 . Dollar – Mirror Mirror

Released in 1981, “Mirror Mirror” is a synth-pop anthem from the British duo Dollar, encapsulating the glitzy, self-reflective ethos of early ’80s pop trends.

Produced by Trevor Horn—architect of polished, layered productions—the track stands out for its shimmering electronic arrangements and meticulously constructed harmonies.

Its themes hover around fragile self-perception and identity, capturing the era’s love affair with introspection wrapped in glossy, radio-friendly packaging.

The song managed a prominent position on the UK Singles Chart, climbing to number 4 and staying there for 13 weeks—a testament to its broad appeal at the time.

Between the gleaming synth layers and the glam-pop visuals of its music video, the duo cemented their image as quintessential figures of early ’80s British pop culture.

Critics often point to “Mirror Mirror” as a textbook example of Trevor Horn’s hallmark production style, with its densely textured soundscapes and near-operatic attention to detail.

Although the lyrics lean heavily on melodrama, they find their place in the song’s glossy framework, evoking themes of beauty and insecurity with just enough theatrical flair to avoid veering into caricature.

“Top of the Pops” appearances and a revamped music video have kept it etched in the memories of ’80s pop enthusiasts, ensuring its legacy as more than just a fleeting chart success.

Its lack of any major awards doesn’t diminish its cultural reverberations, as “Mirror Mirror” remains an enduring, meticulously crafted snapshot of its time, appealing both to nostalgia seekers and fans of sleekly produced synth-pop.

Featured on the 1982 album “The Dollar Album”.

Lyrics >> Review >> More by the same : Wikipedia

3 . Blondie – The Tide Is High

Originally a Jamaican rocksteady gem by John Holt and The Paragons in 1967, Blondie’s 1980 take on “The Tide Is High” turned it into a reggae-infused pop anthem that dominated charts on both sides of the Atlantic.

The track’s reimagining leaned on a lush arrangement, blending horns and strings under the direction of band member Jimmy Destri, giving the song a vibrant texture atypical of Blondie’s usual fare.

Released as part of their fifth studio album “Autoamerican,” the song quickly found itself at the top of the Billboard Hot 100 in the U.S. and the UK Singles Chart, securing Blondie yet another stake in the era’s defining pop moments.

Debbie Harry’s charismatic delivery anchors the track, her voice walking the line between serene and subtly determined, underscoring the narrative of tenacious romantic devotion without venturing into melodrama.

The music video’s nautical and tropical visuals emphasized the carefree yet persistent tone of the song, while Harry’s radiant screen presence ensured its place in MTV’s formative years.

While departures into reggae territory by major pop acts might read as opportunistic in less capable hands, Blondie’s version avoided being reductive by imbuing the composition with genuine artistry and ambition.

“The Tide Is High” wasn’t just a reflection of the band’s appetite for experimentation; it was a strategic reinvention that broadened their appeal without abandoning their confident edge.

The longevity of the track is underscored by the countless remixes, covers, and samples it has spawned, cementing it as a recurring fixture in pop culture’s ever-recycling playlist.

Its place in “Autoamerican” stands as a reminder that mainstream success doesn’t always have to come at the expense of stylistic risk, even if the results themselves occasionally lean a bit heavy on the polished side.

For all its charm, the track’s persistent air of romantic optimism might not appeal to all, but its craftsmanship ensures it resonates far beyond its initial chart-topping splash.

Featured on the 1980 album “Autoamerican”.

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

4 . Fame – Mannequin

Released in 1987, “Fame” found its way onto the soundtrack of the romantic comedy *Mannequin,* landing itself in the pop genre with all the melodramatic glitter one might expect from an era of neon legwarmers and synthesizers.

The track reached #9 on the US Adult Contemporary chart, a respectable position that reflects its mass appeal while steering clear of household-name status. A classic product of the ‘80s, the song is drenched in themes of longing, attraction, and the often-unrealistic appeal of perfection, all underscored by a sense of playful escapism.

Its accompanying music video is stitched together with scenes from *Mannequin,* an oddball celebration of fantasy and love that has aged into something of a camp classic. The tune doesn’t scream innovation, yet it thrives in its own over-the-top sparkle, repositioning what could have been forgettable fluff into a nostalgic time capsule.

At its core, “Fame” is unabashedly pop—a slice of romance-driven fluff decked out in shoulder pads and teased hair.

Lyrics >> More by the same : Wikipedia

5 . The Human League – Louise

Released in 1984 as part of *Hysteria*, “Louise” marks a mid-period The Human League track that leans heavily into melancholic synthpop, dripping with bittersweet sentiment. Its DNA is pure ’80s, with shimmering keyboards and a restrained yet longing vocal delivery by Philip Oakey.

The song’s narrative captures a chance reunion between ex-lovers, reflecting themes of regret, nostalgia, and hope, offering listeners a vignette of unfulfilled love that’s both tender and relatable. It’s as if the band bottled the awkwardness and unresolved tension of an uninvited memory and set it to music.

While the song charted respectably, peaking at #13 in the UK, it never quite reached the cultural ubiquity of earlier hits like “Don’t You Want Me.” Its emotional nuance, however, has helped it endure as a quietly compelling entry in their catalog, resonant with those who’ve had their own “what if” moments.

The music video, helmed by Steve Barron, gives a straightforward visual narrative of the same lovers reuniting, sidestepping the avant-garde style of other era-defining videos in favor of something more intimate. Given Barron’s track record with icons like Michael Jackson and A-Ha, the simplicity here feels intentional, complementing the song’s wistful tone.

By the early 2000s, “Louise” found a fresh audience with its inclusion in *The Very Best of the Human League*. A reworked version, aptly entitled “Louise (We Get It Right),” polished the original but failed to surpass its understated charm. Even Robbie Williams acknowledged its influence, weaving its essence into his track “She’s Madonna.”

For all its understated appeal, the track has remained a steady feature of the band’s live setlists. Whether on retro-themed tours or festival stages, it serves as a poignant reminder of the group’s ability to balance storytelling with synthpop gloss.

Though rarely positioned at the vanguard of critical acclaim, “Louise” continues to hum quietly in the background of ’80s nostalgia, unfussy and undeniably evocative—a snapshot of fleeting connections set to an electronic heartbeat.

Featured on the 1986 album “Hysteria”.

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

6 . Madness – Waiting For The Ghost Train

“Waiting For The Ghost Train” stands as a fitting swan song for Madness, capturing the band at a crossroads between their ska roots and their evolving social consciousness.

Written by frontman Suggs, the track uses its deceptively upbeat rhythm to address the grim reality of apartheid in South Africa, blending catchy hooks with a serious message.

Released as their final single before their hiatus in 1986, it marked an end of an era, not only musically but also symbolically, as the band’s original lineup reunited temporarily for its music video.

There’s an eerie playfulness here—the surreal visuals in the video, with ghostly imagery and oddball charm, mirror the track’s theme of waiting for something elusive and unresolved.

While not part of any main album, its inclusion in compilations like *Utter Madness* has cemented its place in the band’s legacy.

The single’s production carried the sheen of Clive Langer and Alan Winstanley, polished yet cloaked in the trademark quirkiness Madness fans loved.

Its ska/pop leanings might deceive casual listeners into thinking it’s a breezy tune, but beneath its jaunty surface lies a sharp critique—a hallmark of Madness maturing alongside the turbulent political landscapes they often observed.

The song peaked at #18 on the UK charts, a respectable placement that nonetheless hinted at the waning commercial momentum they faced during this transitional phase.

Performed during their 1992 “Madstock” concert reunion, it became a bridge between the band’s past and future, hovering in the bittersweet territory of nostalgia and social reflection.

Whether you focus on its infectious rhythm or its pointed message, “Waiting For The Ghost Train” stays as impactful as it is peculiar—a quiet memo from a band that knew when to let the curtains close, albeit dramatically.

Featured on the 1985 album “Mad Not Mad”.

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

7 . Pretenders – Brass In Pocket

“Brass in Pocket” emerges as a cleverly crafted anthem of audacity and charm, released by The Pretenders in 1979.

Penned by Chrissie Hynde and James Honeyman-Scott, the title comes from a British slang phrase alluding to both money and self-assuredness.

The track navigates a delicate balance between vulnerability and swagger, with Hynde’s vocals radiating a warm, almost conversational confidence.

It’s underpinned by a minimalist groove, marrying new wave’s angularity with the subtle allure of rock’s enduring cool.

Though initially doubted by Hynde herself for its mainstream viability, the song shot to the top of the UK Singles Chart in January 1980, seizing attention in an era hungry for reinvention.

The music video, where Hynde slips into the role of a waitress exuding understated charisma, became an early staple on MTV, effortlessly projecting the band into global consciousness.

Its cultural longevity finds fresh momentum through appearances in films like *Lost in Translation*, pulling new listeners into its orbit decades after its release.

Stripped of bombast yet full of spirit, the track deftly conveys ambition wrapped in desire, setting a standard for the post-punk and new wave ethos it helped define.

From its spare instrumentals to its quietly commanding vocal delivery, “Brass in Pocket” achieves what few songs manage: to be both a product of its time and a timeless piece of pop rebellion.

Featured on the 1986 album “Pretenders”.

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

8 . A-ha – Cry Wolf

“Cry Wolf,” a synthpop cut from A-ha’s 1986 album “Scoundrel Days,” carries an aura of tension and unpredictability, nodding to themes of mistrust and vulnerability.

Its lyrics, steeped in the shadows of Norwegian folklore, amplify the pursuit-and-danger motif, offering an atmospheric dive into the band’s Scandinavian roots.

While achieving only modest success on the U.S. Billboard Hot 100 at number 50, it secured a stronger foothold overseas, cracking the top 10 in places like Ireland, Norway, and Switzerland, and peaking at 14 in the UK.

The track’s production, overseen by Alan Tarney, is stark yet layered, punctuated by sampled wolf howls that feel more mysterious than menacing.

The music video, helmed by Steve Barron, toys with live-action and animation, giving the song a visual identity now ingrained in the band’s legacy.

With its enigmatic lyrics and moody arrangement, “Cry Wolf” might have sidestepped the awards circuit but sits comfortably in A-ha’s live setlists, continuing to resonate with fans decades later.

Featured on the 1984 album “Scoundrel Days”.

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

9 . Toto – Stranger In Town

Released in 1984, “Stranger in Town” by Toto marked a stylistic shift for the band, driven by the addition of new lead vocalist Fergie Frederiksen following Bobby Kimball’s exit.

Lifted from their album “Isolation,” the track leans into darker themes, veering away from their more polished AOR hits of the early ’80s.

Written by David Paich and Jeff Porcaro, it peaked at #30 on the Billboard Hot 100, an acceptable chart position, though one that fell short of the band’s past commercial triumphs like “Africa.”

The moody narrative, inspired by the tale of a serial killer, adds a sinister edge, contrasting with Toto’s usual sonic optimism.

Musically, it features haunting melodies underscored by a saxophone solo that feels both brooding and restless, giving the composition a noir-like ambiance.

The song’s cinematic music video, directed by Steve Barron, played heavily into this vibe, starring Brad Dourif as a jittery and unhinged protagonist.

The video became a mid-’80s MTV staple, adding to its visual notoriety even as the song struggled to conquer radio airwaves on the same scale as previous hits.

“Isolation,” the album from which it hails, landed at #42 on the Billboard 200—respectable but emblematic of a band in transition.

Live performances of the track during the “Isolation” tour also aimed to solidify its standing, but its brooding energy was somewhat at odds with the upbeat sheen of their earlier staples.

While “Stranger in Town” may lack the universal appeal of Toto’s flagship singles, it remains a fascinating snapshot of a band wrestling with reinvention amid shifts in personnel and pop sensibilities.

Featured on the 1985 album “Isolation”.

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

10 . Eurythmics – It’s Alright [Baby’s Coming Back]

Eurythmics’ “It’s Alright (Baby’s Coming Back)” feels like the sonic equivalent of a reassuring phone call—steady, upbeat, and wrapped in warm optimism.

Released as part of their 1985 album *Be Yourself Tonight*, this track marks their ongoing departure from the icy synth-pop of their early years into pop-rock territory with a slick, radio-ready sheen.

The song combines Annie Lennox’s velvety vocals with a carefully arranged mix of cascading piano lines, crisp drums, and airy backing harmonies, crafting a mood of both relief and anticipation.

Chart-wise, it held its own, peaking at #12 on the UK Singles Chart, though it lacked the same cultural ubiquity as some of their other hits.

The accompanying music video, directed by Willy Smax, leans into playful surrealism with its colorful animations and whimsical approach, balancing the song’s heartfelt warmth with a near-cartoonish levity.

Underneath its polished exterior lies a subtly layered production that speaks to Lennox and Stewart’s knack for turning uncomplicated themes—reunion, reassurance—into songs that stick in your head longer than you’d expect.

While it may not command the same attention as “Sweet Dreams” or “Here Comes the Rain Again,” the track finds its own space in their catalog, offering a tender reminder of the power in simplicity.

Featured on the 1980 album “Be Yourself Tonight“.

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

11 . David Bowie – Scary Monsters And Super Creeps

David Bowie’s “Scary Monsters (And Super Creeps)” is a patchwork of jagged edges, chaotic narratives, and a post-punk undercurrent that defined the darker corners of early 1980s art rock.

Produced by Bowie and Tony Visconti, the track revels in its tension, with Robert Fripp’s guitar work slicing through like a distorted cry for help. His riffs act less like accompaniment and more like an antagonistic presence, amplifying the story’s descent into psychological unravelling.

Lyrically, the piece spins a fragmented tale of mental erosion, hinting at rebellion and despair, but cloaked in ambiguity. The storytelling, characteristically Bowie, is equal parts cryptic and theatrical, balancing chaos and control in a way that feels purposefully abrasive. The lyrics are less about clarity and more about unsettling poetry, channeling the alienated ethos of post-punk.

The accompanying video, directed by David Mallet, layers surrealist imagery onto the track’s jagged structure. Bowie’s Pierrot costume flirts with absurdity while keeping you slightly on edge, his visual eccentricity amplifying the song’s atmosphere.

Commercially, it may not have scaled the heights of his earlier hits, reaching #20 on the UK charts, yet it’s a pinpoint in his artistic timeline. Bowie wasn’t chasing charts here; he was constructing a fractured mirror of a wildly shifting cultural landscape.

Part art rock statement, part post-punk experiment, and wholly Bowie, the song remains an emblem of the restless energy defining the “Scary Monsters” album. It’s less a crowd-pleaser and more a reminder that discomfort can be its own form of clarity.

Featured on the 1979 album “Scary Monsters (And Super Creeps)“.

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12 . The Police – Walking On The Moon

The Police’s “Walking on the Moon” tiptoes between reggae and rock with a rhythm as light and deliberate as its titular lunar stroll.

Released in 1979 as part of their album *Reggatta de Blanc,* the track catapulted the band to a second UK No. 1 single, a feat as effortless as Sting’s knack for weaving feelings of weightlessness into a love song.

Legend has it the melody struck Sting post-hangover, proving once again that inspiration doesn’t wait for sobriety or ideal circumstances.

Lyrically, the song pairs love’s floating euphoria with the isolating vastness of space, a blend that gives it a curiously serene tension.

Musically, it resurfaces the band’s fondness for spacious arrangements, with Andy Summers carving minimalist guitar lines and Stewart Copeland’s percussion setting an unhurried pace.

The accompanying music video doubled down on the space motif, featuring the band loitering around NASA’s Saturn V rocket at Kennedy Space Center, as if pondering extraterrestrial gigs.

“Walking on the Moon” also aged well, cementing its foothold in playlists via compilations like *Every Breath You Take: The Singles* (1986) and *The Police* (2007).

The song’s restrained yet emotive vibe showcases the balance The Police excelled at—introspective yet instantly accessible, intimate yet suitable for jam-packed arenas.

Performed live, it retained its weightless charm, capturing the epitome of the band’s ability to transform their minimalistic studio approach into a full-bodied stage experience.

Four decades later, it’s not just one of their most recognizable songs but also a reminder that sometimes emotional gravity pulls hardest in moments of simplicity.

Featured on the 1997 album “Reggatta de Blanc“.

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