‘Vous Avez Dit Bizarre’ N°539 – Vintage 80s Music Videos

Madness, Yip Yip Coyote, XTC, Rhoda, Floy Joy, Nik Kershaw, Squeeze, The Colourfield, Anti-Nowhere League, Big Country, John Foxx, Zerra One

They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (05/52) BUT … in the Eighties 80s.

Here, they are reunited in one glorious playlist. Enjoy!

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For TWENTY FOUR more ‘Vous Avez Dit Bizarre’ – Vintage 80s Music Videos – week 05/52 – click here and here

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Tracklist

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1 . Madness – The Return Of The Los Palmas 7

“The Return of the Los Palmas 7” stands out as a quirky jaunt through the energetic world of Madness, a band that cemented its reputation during the ska explosion of the early 1980s.

Deceptively simple, the track is an instrumental that forgoes lyrics entirely, relying instead on playful melodies and bouncy rhythms to capture its mood.

It manages to evoke an atmosphere that feels both celebratory and oddly cinematic, as though soundtracking a peculiar tropical dream set in a cocktail lounge you’ve only seen in ‘70s postcards.

Released as part of their “Absolutely” album, it’s a departure from their typical ska-pop anthems, yet it fits squarely into their “nutty” ethos.

The piece lives and breathes in a world of horns, sharp piano lines, and a rhythm section working overtime to keep everything buoyant—a testament to the band’s knack for instrumental storytelling.

While less iconic than some of their vocal-driven hits, this song serves as a playful detour in the band’s catalog, showcasing a willingness to experiment during an era when most bands weren’t taking such risks.

The accompanying TV performances, often involving humorous backdrops and imagery, only heighten the track’s tongue-in-cheek charm, never letting the listener forget that Madness knew how to blend musicianship with pure, unabashed fun.


Featured on the 1980 album “Absolutely”.

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

2 . Yip Yip Coyote – Dream Of The West

“Dream of the West” by Yip Yip Coyote stitches together the eclectic threads of early ’80s British new wave with a peculiar retro-country flair.

Released in 1984 as their debut single and reappearing on the 1985 album “Fifi,” the track serves as both an artifact of its era and a stylistic experimental piece that feels oddly distinct within the pop landscape of its time.

Produced by Jesse James, the song never climbed charts or collected trophies, yet it captures a fleeting moment where sonic boundaries were gleefully blurred.

The lyrics meander through themes of escapism and wild imaginings, paired with jangly guitars and an unmistakable twang—ingredients that shouldn’t necessarily work but somehow do.

Airing on “The Tube” and released on both 7″ and 12″ formats, its quirky essence was amplified by a surreal music video that leaned heavily into the bizarre.

This is a song that remains perched at the crossroads of kitsch and invention, refusing to be pinned down to any one stylistic camp or era.


Featured on the 1985 album “Fifi”.

More by the same : Wikipedia

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3 . XTC – Mayor Of Simpleton

Released in 1989 as part of XTC’s album “Oranges and Lemons,” “Mayor of Simpleton” stands out as a track where clever songwriting meets musical complexity.

The song’s origins as a reggae tune were entirely reworked, leaving behind only traces of its first incarnation, ultimately solidifying its distinct pop-rock identity.

Its introduction employs a C to D major picking pattern, an homage to the melodic flow of Blue Öyster Cult’s “(Don’t Fear) The Reaper,” though its tone veers far closer to cheerful confrontation than eerie lament.

The real star, though, is Colin Moulding’s bass line, which moves with unerring precision, providing a contrapuntal backbone that feels like Bach transposed into the vernacular of alternative rock.

Lyrically, Andy Partridge crafts a narrative of self-deprecating charm, portraying a narrator who shrugs off any intellectual shortcomings with heartfelt fidelity to his partner, proving emotional resonance often trumps intellectual depth.

The minimalist music video leans heavily into the song’s offbeat sincerity while eschewing any grand theatricality, letting the track breathe on its own odd-but-joyous terms.

Though modest in its Billboard performance, peaking at No. 72 in the U.S., it clinched the top spot on the Modern Rock Tracks chart, a testament to its resonance within niche circles rather than mainstream domination.

As much as it is a love song, “Mayor of Simpleton” carries a refreshing humility, wearing its quirks proudly, effortlessly bridging pop accessibility with intricate musical craftsmanship.


Featured on the 1989 album “Oranges & Lemons”.

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

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4 . Rhoda – The Boiler (w/ The Special A.K.A.)

Released in early 1982, “The Boiler” pairs the sharp narratives of Rhoda Dakar with the evolving sonic identity of The Special AKA, a group in flux following personnel changes.

This unsettling ska track unfolds a harrowing story of date rape through vivid, unflinching lyrics, delivered with Dakar’s almost conversational vocals building from mundane detail to gut-wrenching terror.

The organ, played by producer Jerry Dammers, echoes faintly behind Nicky Summers’ bassline, creating a chilling backdrop for a narrative that refuses to be ignored.

The song isn’t crafted for easy listening; its raw honesty stirs discomfort, a deliberate move to confront societal silence around sexual violence.

Its uncommercial subject matter limited radio rotations but didn’t suppress its cultural impact, charting at No. 35 in the UK while forcing conversations about trauma in public spaces.

The track coincided with a high-profile rape case, further embedding itself into the cultural psyche of the time, proving that music can cut deeper than entertainment, serving instead as an urgent demand for accountability.


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

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5 . Floy Joy – Weak In The Presence Of Beauty

“Weak in the Presence of Beauty” shuffles onto the stage with a silky blend of pop elegance and understated melancholy, its title doubling as both confession and lament.

Penning the track, Michael Ward and Rob Clarke deliver an anthem of vulnerability wrapped in romantic intrigue, tracing the fine line between admiration and obsession.

Floy Joy’s 1986 original offers an unusually restrained vocal performance by Desy Campbell, whose soft delivery matches the smooth yet slightly detached instrumentation, as if keeping heartache at arm’s length.

The production by Don Was elevates the track towards a sleek, radio-friendly aesthetic, yet it maintains a fragility that sidesteps over-polished monotony.

Commercially, the song’s restrained charm only mildly registered, peaking modestly on various charts, though its merit lies less in numbers and more in mood.

Its later reinterpretation by Alison Moyet lends it broader recognition, trading Floy Joy’s chic restraint for Moyet’s richer, broodier delivery.

The song’s layered subtlety signals a moment of high style in an era tilting towards pop maximalism, a fleeting reminder that restraint can sometimes hit harder than bombast.

Inevitably, its easy-listening appeal attracts both admirers of sophisticated melodrama and detractors seeking deeper emotional bite, yet its place in both ’80s pop history and cult admiration remains quietly assured.


Featured on the 1986 album “Weak in the Presence of Beauty”.

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

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6 . Nik Kershaw – Wouldn’t It Be Good

“Wouldn’t It Be Good” by Nik Kershaw captures the yearning for escape with its wistful synth-pop charm and introspective lyricism.

This 1984 anthem marries a sleek production aesthetic with a refrain that feels both melancholic and defiant, perfectly tuned to the discontent of the mid-’80s zeitgeist.

Its layered arrangement showcases a blend of real drums, suggested by Peter Collins, and the glitter of doubled horns, performed by Jerry Hey, adding a nuanced texture to what might have otherwise been predictable synth-pop fare.

The accompanying music video leans into early chroma key effects, portraying Kershaw as a silver-suited alien musing on human struggles while meandering between London’s St. James’ Court Hotel and the stark Mullard Radio Astronomy Observatory.

A cultural snapshot, the video’s technological ambitions are quaint yet endearing, underscoring the song’s forward-looking ethos.

Beneath its shimmering exterior lies a universal longing, a sentiment that resonated strongly across Europe, particularly in Germany and Ireland, where its chart dominance was second only to the UK.

The track even resurfaced on the world stage via Live Aid, tethering it to an era where hope and frustration simmered in equal measure.

Clinging to its futuristic aura while steeped in quintessentially ’80s sonic motifs, “Wouldn’t It Be Good” is a standout that manages to feel both specific to its time and curiously evergreen in its lament of dissatisfaction and aspiration for something more.


Featured on the 1984 album “Human Racing”.

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

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7 . Squeeze – 853-5937

Back in 1987, Squeeze tapped into America’s phone-obsessed culture with “853-5937,” a breezy track that married quirky storytelling with a pop-rock sheen.

The title itself, a phone number, toys with the idea of unspoken connections, as the song narrates a failed attempt at reaching out—a missed call in the era of rotary phones and busy signals.

Chris Difford’s sharp lyrics add a wry humor to the tale, while Glenn Tilbrook’s melodic instincts ensure it’s far from gimmicky.

The production leans into mid-‘80s gloss, framing the song within punchy drums and sparkly keyboards courtesy of Andy Metcalfe.

It’s impossible not to tap your foot to the rhythm, even if the emotional depth remains somewhat shallow compared to the band’s more introspective work.

As part of *Babylon and On*, it stands beside “Hourglass” as a commercial success, though it’s clear Squeeze aimed to charm American radio rather than break new musical ground.

The accompanying video highlights its playful tone, albeit with a visual goofiness that hasn’t aged as gracefully as the track itself.

While not groundbreaking within their extensive catalog, “853-5937” captures Squeeze embracing pop accessibility with an infectious sense of fun.


Featured on the 1987 album “Babylon and On”.

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

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8 . The Colourfield – Things Could Be Beautiful

“Things Could Be Beautiful” by The Colourfield emerges from 1986 as a wistful blend of 60s and 70s pop influences, layered with Terry Hall’s distinct vocals and poetic introspection.

Produced by Ian Broudie, the track finds itself nestled in an EP crafted specifically for the U.S. market, a move that juxtaposes the band’s reflective lyricism with label-driven pragmatism.

The EP, an eclectic collection of live recordings, older productions helmed by Hugh Jones, and this specific studio creation, reflects a band ambivalent about chasing mainstream success but committed to its craft of melodic sophistication.

“Things Could Be Beautiful” charts modestly at number 83 in the UK, a fact that neither bolsters nor diminishes its gentle optimism.

Its hopeful melody, wrapped in jangly guitars and understated production, exists less as a pop anthem and more as a tender whisper of what might be, a theme underscored by its video’s restrained visual artistry.

Both overlooked and quietly enduring, the song exemplifies The Colourfield’s penchant for veiling earnest hopefulness under a disarmingly simple exterior.


Lyrics >> More by the same : Instagram

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9 . Anti-Nowhere League – Streets Of London

Anti-Nowhere League’s reinterpretation of Ralph McTell’s “Streets of London” grabs the quaint civility of the original and hurls it through a punk-rock shredder.

Released in 1981, this blistering cover swaps McTell’s plaintive fingerpicking for Magoo’s jagged guitar riffs, driven by a rhythm section that’s more bar brawl than ballad.

Opening cheekily with a snippet of “My Fair Lady,” the band launches into a feral reimagining of social despair, retaining the lyrics’ focus on urban hardship but layering it with raw, snarling defiance.

Animal’s guttural vocal performance feels less empathetic and more confrontational, fitting seamlessly into the nihilism of the early punk movement.

It’s all aggression and grit, an anti-folk rebuttal that spits in the face of polite melancholy.

Appearing both as a stand-alone single and on the “Streets of London” EP, it underscores the band’s knack for mixing ferocity with provocative narratives without polishing the rough edges.

The result isn’t just a cover; it’s an outsider anthem that channels disdain for conformity while acknowledging societal fractures.


Featured on the 1982 album “We Are…The League”.

Lyrics >> More by the same : Official Site

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10 . Big Country – Peace In Our Time

“King of Emotion” kicks off with a spirited swagger, fusing Big Country’s Celtic-infused rock identity with a chorus that leans suspiciously close to arena-ready simplicity. Clocking in at 4:50, it straddles the band’s trademark earnestness and a production gloss that feels polished to a fault.

“Broken Heart (Thirteen Valleys)” shifts the tone slightly, pulling the listener into a wistful narrative. At 5:10, it’s a sprawling affair that dabbles in heartfelt sincerity. The melody hints at grandeur, yet the album’s sanitized production nudges it toward predictability rather than emotional payoff.

“Thousand Yard Stare” feels compact in comparison, working its 3:57 runtime with taut energy. Co-written by Stuart Adamson and Bruce Watson, the track rides on jangling guitars but risks getting lost in the overarching gentleness of the album’s soundscapes.

“From Here to Eternity,” clocking in at 4:54, plays with a sense of longing but is weighed down by meandering synthesized flourishes that occasionally clash with the band’s grounded essence. Nostalgia fights intermittently with experimentation here.

“Everything I Need” attempts to rekindle Celtic sparks but feels held back by overproduction, smoothing away the edges that once defined Big Country’s sonic character. At 4:39, it borders on being one of those passages that charms but doesn’t haunt.

The titular “Peace in Our Time” runs 4:34 and flirts with the impossible balance of introspection amid polish-heavy arrangements. The intention is profound, but the track often feels like it’s drowning in its own gravitas.

“Time for Leaving” embodies a collaborative effort by the band but stretches its 5:01 length with an indulgent approach. Vocal embellishments from guest singers are featured heavily, yet they teeter precariously close to ornamental instead of essential.

“River of Hope” (4:29) tries to harness the sweeping vistas once central to Big Country’s ethos, but it comes across as safe. The Celtic notes are present without inspiring the same thrill they might’ve had during the band’s earlier output.

“In This Place” clocks 4:21 and brings a piece that feels stripped of the rugged spirit that initially made the group stand out. The harmonica and guitar interplay faintly salvage its identity amid over-synthesized surroundings.

“I Could Be Happy Here” treads similar ground, gliding through 4:28 with a polished sheen. Co-written by Adamson and Watson, it flickers with potential but remains too muted to create lasting resonance.

“The Travellers” at 3:13 is brevity itself but leaves little impression. Imbued with faint scenic imagery, the track might belong to the category described as transitional filler rather than cornerstone material.

“When a Drum Beats” (5:01) leans into exotic instrumental touches, notably the sitar. It’s a bold instrument choice for a band known for bringing earthy awareness to their music, yet something about its presence here feels tacked-on rather than transformative.

“Starred and Crossed” revisits well-trodden thematic ground with its 4:25 runtime. It retains a lyrical earnestness but wades in territory indistinguishable from several earlier tracks, producing mild deja vu rather than bursts of innovation.

“Longest Day,” as the concluding piece, stretches to 6:36 but struggles under its own weight. The closer feels like an extended swan song, aiming for anthemic but stalling at contemplative. It tries to encapsulate the band’s journey through this album but ends up epitomizing its central tension: ambition caught in the net of over-sanitization.


Featured on the 1988 album “Peace in Our Time”.

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

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11 . John Foxx – Underpass

Released on January 10, 1980, “Underpass” marks John Foxx’s leap into solo artistry after his departure from Ultravox.

This synth-pop single, pulled from his debut album *Metamatic*, lingers in the shadowy corridors of late modernism, conjuring up imagery of desolate urban landscapes and Ballardian unease.

The track leans on a foundation of synthesizers and stripped-down electronic percussion, with Foxx’s voice sliding between chilly detachment in the verses and a sardonic, single-word exclamation in the chorus.

It’s less a song than a mood—clinical, foreboding, almost hypnotic in its stark minimalism.

Thematically, “Underpass” riffs on alienation and the unnerving sterility of midcentury architecture, all while nodding toward car culture and its existential loneliness.

Visually, its promotional video is a study in contrasts: neon glows against a decayed backdrop, while ghostly children haunt a dreary post-apocalypse.

The imagery feels both dated and eerily prescient, although the melancholic theatrics may strike modern viewers as heavy-handed.

The track’s B-side, “Film One,” is a jittery instrumental that underscores Foxx’s flair for tension but offers little in terms of standalone replay value.

Commercially, the single reached number 31 on the UK charts—not mind-blowing, but respectable for a niche dive into electronic introspection during an era dominated by punk’s tailwind.

Live performances saw the song evolve, briefly rebranded as “Overpass” in the late ’90s before circling back to its original form.

For all its starkness, “Underpass” feels oddly timeless, a chilly echo of the past that still resonates with the technologically dystopian present. Foxx crafts a world where human warmth is absent but ever-haunting, and sometimes, that world feels unnervingly close.


Featured on the 1980 album “Metamatic”.

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

12 . Zerra One – Rescue Me

“Rescue Me” by Zerra One feels like a snapshot of 1986, its sound a fusion of Alternative Rock, New Wave, and Post-Punk elements that were emblematic of the era.

The track resides within their album “The Domino Effect” and emits vibes of emotional urgency through its blend of synth-driven melodies, propulsive rhythms, and a vocal delivery soaked in longing.

The lyrics grapple with themes of salvation and yearning, elevated by a cinematic atmosphere that captures a sense of dramatic escapism.

Chart appearances aren’t fully detailed from its history, but the song managed enough traction to be listed on the Official Charts, suggesting it resonated with certain audiences during its release period.

Its accompanying video leans into the era’s penchant for moody aesthetics, offering a visual counterpart to its heartfelt tone.

While not tied to major events or collaborations, those who appreciate atmospheric ’80s tracks—marked by a mix of raw emotion and stylish production—may find this one compelling.


Featured on the 1987 album “The Domino Effect”.

More by the same : Official Site

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