‘Vous Avez Dit Bizarre’ N°310 – Vintage 80s Music Videos

1 . Zapp – It Doesn’t Really Matter

Released in 1985 as part of Zapp’s fourth studio album, “The New Zapp IV U,” “It Doesn’t Really Matter” encapsulates the electro-funk aesthetic that dominated the decade’s R&B landscape.

Anchored by Roger Troutman’s iconic talk box—a gadget practically synonymous with his name—the track operates as both an anthem of irreverence and a showcase for the band’s knack for squeezing funk from synthesizers and drum machines.

Though not a chart behemoth, peaking at #57 on the UK Official Singles Chart in early 1986, the song held its own in niche spaces, bolstered by Roger’s precise production and a guest-laden album featuring partnerships with legends like George Clinton and Bootsy Collins.

The engineering squad, a nearly comical list featuring Charles Jackson, Janine Connors, Lester Troutman, Michael Warren, Paul Logus, and Robert Jones, reflects the track’s meticulous, almost obsessive attention to detail.

While its lyrics, penned by Larry and Roger Troutman, lean on the playfully dismissive ethos captured in the title, the true star here is the seamless interplay of analog warmth and electronic sheen, a feat few bands of the time navigated with such ease.

Its placement on “The New Zapp IV U,” an album better remembered for dance-floor staples like “Computer Love,” might explain its secondary status in popular memory, but that diminishes neither the skill nor its contribution to the Zapp catalog’s funky lineage.

For those hungry for a taste, video platforms like YouTube offer digitized relics of live performances, sustaining its relevance in the scattered preservation of funk history.

As a product of its era, “It Doesn’t Really Matter” serves as both a time capsule and a groove-generator, leaving anyone unfamiliar with the era marveling at how indulgently strange and determinedly futuristic funk once dared to be.

Featured on the 1985 album “The New Zapp IV U “.

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2 . ABBA – Under Attack

“Under Attack,” ABBA’s swan song before their prolonged hiatus, emerges as a fascinating puzzle of contrasts.

Released in December 1982 as part of their compilation *The Singles: The First Ten Years*, the track signals a stylistic shift toward a synth-pop veneer, making it an artifact of ABBA’s later years, where polished production veiled underlying tensions.

Lyrical ambiguity reigns supreme: is it about emotional entrapment, existential apprehension, or both?

The music video amplifies this sense of unease—the band performs in a stripped-down warehouse, piercing red lights slicing through the stark scenery, concluding in a gesture of departure that feels ominously symbolic.

Chart performance, though, tells another story.

While it cracked the Top 5 in Belgium and the Netherlands, the UK’s chilly reception at #26 hinted at ABBA’s fading grip on mainstream momentum, a far cry from their arena-filling heydays.

The song’s release coincided with their last television performance, a stately, bittersweet affair on the *Late Late Breakfast Show*.

A curious duality defines “Under Attack”: a song brimming with slick production and hooky melodies, yet haunted by a sense of creative exhaustion.

It’s not their finest hour, nor their weakest, but it stands as a quiet monument to the end of one of pop music’s most enduring acts.

Featured on the 1982 album “The Singles: The First Ten Years”.

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3 . Lloyd Cole And The Commotions – Cut Me Down

“Cut Me Down” settles into its introspective corner of the ’80s rock-pop landscape, brimming with angst and texture.

Released as part of Lloyd Cole and the Commotions’ second album, *Easy Pieces*, the track clings to striking elements—jangly guitar rhythms, brooding vocals, and a dreamy cadence that feels both familiar and distant.

Produced by Clive Langer and Alan Winstanley, whose fingerprints have graced many British acts, the song trades depth for polish, leaning on a three-chord structure that Lloyd himself once criticized as compromised in its arrangement.

Supported by Blair Cowan’s keyboards and Neil Clark’s sharp echoes on guitar, the band holds its identity but doesn’t entirely transcend it here, delivering a track that feels like the younger sibling of more ambitious efforts.

The iconic B-side, “Are You Ready to Be Heartbroken?” (Live), perhaps outshines the single itself, offering rawer emotion.

Its modest chart success (UK #38, Ireland #12) mirrors its artistic position: a dimly lit gem in a consistently glowing discography.

True to the period, its accompanying music video, now on YouTube, holds aesthetic relics of ’80s nostalgia but does little to enhance the song’s ambitious subtleties.

For fans of the band’s lyrical craftsmanship, *Easy Pieces’* broader offering makes the trip worthwhile, even if “Cut Me Down” falls just short of delivering a killer hook—or much introspection beyond its surface mood.

Featured on the 1985 album “Easy Pieces”.

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4 . The Cult – Resurrection Joe

The Cult’s “Resurrection Joe” emerges in 1984 as a peculiar entry in their discography, straddling the line between post-punk and gothic rock with a swaggering psychedelic twist.

Released as a standalone single, it sidesteps any notable chart dominance, peaking modestly at #74 on the UK Singles Chart, but its existence carries a distinctive charm that feels oddly out of time, even within their catalog.

Produced by Chris Kimsey, whose résumé includes working with the Rolling Stones, the track orchestrates a hypnotic, restless rhythm section that underpins Billy Duffy’s searing guitars and Ian Astbury’s cryptic, semi-loopy vocal delivery.

Lyrically, it gravitates towards the arcane, spinning a tale of resurrection through mysterious means, possibly tied to alchemical mysticism or street-corner quackery, but its narrative coherence is as elusive as a puff of smoke.

The 12-inch version stretches the song into a “Long Version” and a “Hep Cat Mix Long Version,” further teasing out its hypnotic repetition, though whether this rewards or tests a listener’s patience might depend on how good their attention span was that day.

The music video, shot at Kirkstall Abbey Museum in Leeds, slathers the visuals with faux-Victorian grit, featuring Astbury dressed like a snake oil peddler pitching redemption in a bottle while interspersed with live concert footage from “Dreamtime Live at the Lyceum.”

The release history adds another layer of quirk: Japan received a unique 12-inch EP version with oddly “unrelated” songs like “Sea and Sky” and “A Flower in the Desert,” suggesting that someone at the label might’ve grabbed the wrong tape.

There’s undeniably an experimental playfulness coursing through the song, as if the band is less concerned with climbing the charts and more with spinning out an eccentric, kaleidoscopic vignette that exists in its own stomping carnival world.

Despite being born partially from leftovers of the Death Cult era and later making minimal appearances on compilations like “High Octane Cult,” “Resurrection Joe” resonates as both curio and time capsule, capturing a band in flux, tipping towards the harder, larger-than-life sound that would soon define their trajectory.

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5 . The Polecats – Make a Circuit with Me

“Make a Circuit with Me” brings rockabilly to life with a kinetic mix of rhythm and humor that feels simultaneously retro and fresh.

Released in 1983 under Mercury Records, the single finds The Polecats leaning into their signature style, melding vintage 1950s energy with a polished 1980s sheen.

The lyrics dance around clever metaphors of love and electricity, offering a playful look at romance with a literal spark.

While the track’s chart performance was modest—peaking at No. 76 in the UK—it has had a surprising cultural endurance, cropping up in films like *Buffalo ’66* and even advertisements for *WALL-E*.

The band’s rockabilly revival roots are evident in every beat, with Tim Polecat’s playful vocals and Boz Boorer’s dynamic guitar riffing stealing the show.

Boorer’s later work with Morrissey further illustrates how his artistry extends well beyond The Polecats.

Though often overshadowed by contemporaries in the genre, the track carves out its own peculiar space, a delightful callback to an era where music wasn’t afraid to have a little fun.

Its seemingly niche appeal has ironically helped the song remain relevant, a small but significant piece of the rockabilly revival puzzle of the late 20th century.

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6 . The Colourfield – The Colour Field

The Colourfield’s debut single from 1984, bearing their initial name “The Colour Field,” is an understated artifact of new wave’s quieter, contemplative side.

Despite its failure to crack the UK top 40, the release offered a glimpse into Terry Hall’s post-ska trajectory, moving far from his days in The Specials and shucking off Fun Boy Three’s pop-drenched quirkiness.

Co-founded with Karl Shale and Toby Lyons, The Colourfield’s early work dared to lean into sophisticated pop dynamism, layering melodies and arrangements that felt intricate without tipping into pretension.

Released under Chrysalis Records, the single carried a lush, mildly melancholic tone, with the production left uncredited yet steeped in the polished minimalism characteristic of its time.

Where Hall’s earlier bands were sharp, brash, and intrinsically linked to Britain’s restless sociopolitical energy, The Colourfield sought escapism, offering something that eschewed immediate accessibility for careful unraveling over repeat listens.

This understated beginning might not have swayed the charts, but it certainly hinted at a band unafraid to evolve pop music into textured storytelling.

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7 . Screaming Blue Messiahs – I Wanna Be A Flintstone

“I Wanna Be A Flintstone” by the Screaming Blue Messiahs occupies a peculiar spot in the late ’80s rock landscape—a bizarre, high-energy ode to the animated Stone Age family with a kick of rockabilly-punk swagger.

Emerging from their 1987 album *Bikini Red* and produced by Vic Maile, the song flirts with cartoonish fervor while staying rooted in gritty guitar riffs and punchy percussion.

Charting at #28 on the UK Singles Chart in 1988, it offered the band their briefest flirtation with mainstream visibility, even scraping into Australia’s charts at #100. While its subject matter might seem trivial, there’s a subversive brilliance in its melding of nostalgia with punk irreverence.

The music video underwent a rework, with additional colorful clips from *The Flintstones* spliced in following disagreements with the record label, ultimately helping to cement its quirky charm.

A live showcase of the track showcased the band’s frenetic stage presence, with frontman Bill Carter embodying a restless, unpolished energy that captured the chaotic essence of their sound.

This was no mere novelty—behind the absurd lyrics was a tight, driving instrumental that paid homage to ’50s rock and roll while pushing its edges into something more jagged and modern.

Although the group failed to replicate the success of their prehistoric anthem, the track continues to exist as a token of the era: unhinged, unfiltered, and defiantly unique.

It may be viewed as both an outlier and a perfect snapshot of a band willing to transform the seemingly banal into blistering musical eccentricity.

Featured on the 1987 album “Bikini Red”.

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8 . AC/DC – Shake Your Foundations

Released in 1985 as part of AC/DC’s “Fly on the Wall” album, “Shake Your Foundations” brims with the electrifying energy that defines the band’s hard rock aesthetic.

Written by the legendary trio of Angus Young, Malcolm Young, and Brian Johnson, the track captures the essence of untamed rock ‘n’ roll rebellion with its infectious riffs and no-holds-barred lyrics.

Originally produced by the band, the song was later given a polished remix by Harry Vanda and George Young for the 1986 compilation album “Who Made Who,” which doubled as the soundtrack for Stephen King’s sci-fi cult film “Maximum Overdrive.”

The remix, slightly shorter than the original, offers a cleaner yet equally engaging experience, but the raw grit of the album version remains a favorite for purist fans.

Chart performance was modest, with the song landing at #97 on the Australian Kent Music Report and making a more noteworthy splash on the Billboard Mainstream Rock Tracks chart at #24.

The accompanying music video, featuring the band performing on a chaotic, hyper-amped stage, played heavily on MTV, adding a visual layer of intensity to the track’s irreverent vibe.

“Shake Your Foundations” is more than just a party anthem; its driving rhythm and pounding beats evoke a primal sense of release, making it a standout moment in AC/DC’s mid-’80s catalog.

It also became a crowd favorite during their “Fly on the Wall” tour, with live performances amplifying its unrelenting energy for audiences worldwide.

Though its chart rankings don’t echo the band’s mega-hits, the song remains a beloved staple that encapsulates their trademark blend of grit, fun, and unapologetic defiance.

Featured on the 1985 album “Fly on the Wall”.

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9 . Steve Winwood – While You See A Chance

Steve Winwood’s “While You See A Chance” exemplifies the bridge between classic rock and early 1980s synthpop experimentation.

Born out of Winwood’s one-man-band approach in his home studio, the track sees him layering synthesizers, drum machines, and his signature vocal style with meticulous precision.

The lyrics, written by Will Jennings, tap into the universal theme of grasping at fleeting moments, adding a reflective dimension to the shimmering production.

Commercially, the song reached its zenith at No. 7 on the Billboard Hot 100 in 1981, while charting respectably in other territories, including a modest No. 45 in the UK.

Its reception cemented Winwood’s transition from band collaborator to legitimate solo artist, especially coming off stints with Traffic and Blind Faith.

The music video, a kaleidoscope of low-budget but lively visuals, served its purpose in the early MTV era, even if its aesthetic feels dated now.

Critically, the track walks a fine line between introspection and polished ambition, with its uplifting message balanced by a sense of personal resilience.

Though not groundbreaking in its execution, it remains a compelling snapshot of its time, both thematically and sonically, and a key entry in Winwood’s evolution as a solo performer.

Featured on the 1980 album “Arc Of A Diver“.

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10 . Cactus World News – Years Later

Released in 1986 as part of the debut album *Urban Beaches*, “Years Later” marks Cactus World News stepping out with ambition and post-punk energy.

Produced by Bono under Ireland’s Mother Records, the track arrives as both a commentary on a modernizing Ireland and a deliberate challenge to the nation’s clichéd identity.

It’s rock with teeth, avoiding the pastoral stereotypes often pinned on Irish bands.

The sonic approach leans into post-punk’s urgency, blending anthemic guitar lines with an undercurrent of introspection—an effort to carve out a broader musical identity.

The single hit #59 on the UK Singles Chart, cementing itself as a modest radio success and a foundational piece for their grassroots following in Scotland and Ireland.

“Years Later” doesn’t bury itself in overproduction, allowing the band’s rawness to thrive, though some may argue it feels a hair too polished compared to its live renditions.

While its cult status is undeniable, the track’s broader legacy reflects a band aiming sky-high in a crowded post-punk field, even if they didn’t end up household names.

Urban Beaches itself reached the UK Top Forty, with the album’s reception proving that Cactus World News could balance lyrical commentary with a sprawling rock ethos.

In retrospect, the track serves as a snapshot of a band fueled by ambition and a desire to reframe their place within both Ireland’s musical and cultural narratives.

Featured on the 1986 album “Urban Beaches”.

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11 . The Triffids – A Trick Of The Light

The Triffids’ “A Trick of the Light” drops into the late ’80s like a bittersweet postcard from nowhere, standing between new wave’s twilight and pop’s swelling grandiosity.

Layered with strings and David McComb’s wistful baritone, the track straddles rock and folk, while the shimmering arrangements hint at something lurking beneath the surface glow.

As part of their 1987 album *Calenture*, produced with the precision of Gil Norton, the track plunges into themes of displacement—emotional and geographical—ideas bred from the band’s nomadic existence.

The song’s gentle hooks and McComb’s yearning delivery are wrapped in a mood of unease, a contrast that nods to the album’s title, a term for tropical fever-induced delirium.

“A Trick of the Light” is deceptive in its accessibility, glossing over darker ruminations with its melodic sheen, a tension that underscores The Triffids’ knack for layering depth beneath radio-friendly surfaces.

Chart-wise, it struggled in the UK, peaking at #77, but its inclusion in the deluxe edition of *Wide Open Road: The Best of The Triffids* secures its lineage among the band’s most potent offerings.

Whether you call it pop or something more esoteric, this musical sleight-of-hand stands as a testament to The Triffids’ blend of craft and conviction—neither bombastic nor minimal, it occupies its own peculiar corner of the ’80s landscape.

Featured on the 1987 album “Calenture”.

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12 . Wang Chung – Dance Hall Days

The essence of Wang Chung’s “Dance Hall Days” lies in its ability to combine edgy New Wave swagger with a wistful nod to the simpler, groovier days of yore.

Released in 1983 on the album “Points on the Curve” and later gaining more notoriety with its slick, color-shifting 1984 music video, the track treads an intriguing line between nostalgia and forward-looking pop production.

Building on hushed synths, a laid-back tempo, and Jack Hues’ wistfully understated vocals, the song is less interested in making you move than immersing you in a smoky, kaleidoscopic reverie.

It first made waves in the U.S., scoring a solid No. 16 on the Billboard Hot 100, but it was the thumping bassline and infectious chorus that catapulted it to No. 1 on the U.S. Dance Club Songs chart.

Oddly enough, despite its transatlantic aspirations, the track only climbed to a modest No. 21 on the UK charts, making it clear where its primary audience lay.

Thematically, the song weaves childhood memories of dance halls—Jack Hues reportedly honored his father’s music-playing days—into its tapestry, but it never settles into the overly saccharine territory of pure reminiscence.

Instead, it’s comfortably couched in the synthesizers and drum machines emblematic of its era, aligning itself with innovative stylings rather than cloying sentimentality.

The accompanying music video, an oddball visual feast directed by Derek Jarman, unapologetically veers into surrealist territory with a mix of 1940s flair and magical realism, ensuring heavy MTV rotation and cementing its appeal to visually stimulated audiences of the time.

From the nightclub circuit to mosh-proof radio hits like “Everybody Have Fun Tonight,” Wang Chung knew how to make records that tickled American ears, and “Dance Hall Days” undoubtedly laid the foundation for their subsequent boppy anthems.

The track has since enjoyed a second life, cropping up in cultural touchstones like “Grand Theft Auto: Vice City” or the gritty crime thriller “To Live and Die in L.A.,” neatly bridging the gap between synth nostalgia and modern-day remix culture.

It’s a curious thing—a song equally capable of soundtracking a neon-lit dance floor or the wistful haze of memory, but perhaps that’s the real magic behind it: its refusal to be pigeonholed into just one scene or sound. Wang Chung never locked itself into one groove, and in hindsight, that might just be their most enduring legacy.

Featured on the 1983 album “Points on the Curve”.

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