‘We Are Live’ N°16 – Vintage 80s Music Videos

The Icicle Works, Sammy Hagar, Dexys Midnight Runners, Rainbow, The Dickies, The Bluebells, Les Enfants, The Silencers, Spider, Ratt, Cockney Rejects, Scorpions

They are the performers of twelve “live” music videos that were ranked in various charts, this week (07/52) BUT … in the EIghties 80s.

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

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Tracklist

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1 . The Icicle Works – Evangeline

“Evangeline” by The Icicle Works is a mid-charting artifact of late-1980s alternative rock, released in January 1987 and peaking modestly at No. 53 on the UK Singles Chart.

As part of the album “If You Want to Defeat Your Enemy Sing His Song,” produced by Ian Broudie, the track exists within a broader landscape where Liverpool’s neo-psychedelic influences still linger, brushing shoulders with contemporaries like Echo & the Bunnymen and The Teardrop Explodes.

This song’s blend of alternative rock and neo-psychedelia is quintessentially of its era but lacks the urgency to anchor itself deeper into the listener’s consciousness, especially when compared to larger luminaries of the same scene.

Ian McNabb, the band’s principal force, channels sincere earnestness into the composition, supported ably by Chris Sharrock’s precise drumming and Chris Layhe’s steady bass work, yet the track still leans heavily on mood and atmosphere rather than delivering hooks that endure.

Sandwiched between The Icicle Works’ post-punk heritage and their later breakup in 1989, “Evangeline” feels like a band teetering on the edge of retrospection while searching for a second wind of relevance.

The Frederik Pohl-derived band name may suggest a cerebral bent, but here, the intellectualism takes a backseat to dynamics that are skillfully executed yet difficult to set apart in a crowded genre.

With Ian McNabb continuing to perform under the moniker in various iterations, “Evangeline” remains a respectable, if not transformative, entry in their legacy, marking time rather than defying it.


Featured on the 1987 album “If You Want to Defeat Your Enemy Sing His Song”.

Lyrics >> More by the same : Official Site

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2 . Sammy Hagar – I’ve Done Everything For You

“I’ve Done Everything For You” by Sammy Hagar is a punchy, riff-driven rock track that feels like a private vent session turned public anthem.

Debuting in live performances as early as 1977, the raw frustration in the lyrics permeates the song’s energy, addressing what seems to be either a one-sided personal relationship or professional struggles where Hagar feels unrewarded for his efforts.

Its initial live recording, included on Hagar’s 1978 album “All Night Long” (renamed “Loud & Clear” in the UK), clocks in at 3:35 and captures some of the vitality of Hagar’s stage presence, though as a standalone single, it failed to chart. Perhaps the production couldn’t fully encapsulate the urgency Hagar injects into his live performances.

A studio version appeared in 1979 as the B-side to Hagar’s cover of “(Sittin’ on) The Dock of the Bay” and later resurfaced on the 1982 greatest hits compilation “Rematch.” For Australian listeners, this version also appeared as a bonus track on 1980’s “Danger Zone.” Still, the track floundered in finding an audience until Rick Springfield’s 1981 cover propelled it to a No. 8 spot on the U.S. charts.

Hagar’s lyrics reflect themes of unreciprocated sacrifice and longing for liberation, a sentiment mirrored in the sharp guitar riffs. Yet Springfield’s more polished version arguably leans into broader appeal, while Hagar’s rendition feels rougher, revealing its emotional core more vividly. Ultimately, “I’ve Done Everything For You” speaks as much to Hagar’s career oscillations as it does to personal grievances, standing as a moment of unvarnished expression in a catalog often eclipsed by his later rock stardom.


Featured on the 1978 album “All Night Long”.

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

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3 . Dexys Midnight Runners – Geno

“Geno” by Dexys Midnight Runners updates a classic fan-to-idol narrative with a brass-powered force that mirrors its subject’s musical energy—even if it occasionally feels caught between homage and the band’s own stylistic ambitions.

Released in 1980 as the lead single from *Searching for the Young Soul Rebels*, Kevin Rowland and Kevin Archer’s writing keeps its emotions raw and tangible, crafting a tribute to soul singer Geno Washington while filtering his Ram Jam Band’s influence through their sharp saxophone riffing and fiery performance style.

That saxophone—and its inspiration from Washington’s “(I Gotta) Hold On to My Love”—functions as the song’s throbbing backbone, a persistent reminder of the source material even as Dexys warp it into their own brassy revival. The sampled crowd noises from Van Morrison’s *It’s Too Late to Stop Now* briefly break the fourth wall, layering a sense of lineage and placing Dexys squarely within a tradition of relentless live energy.

Perhaps it’s ironic that “Geno” almost didn’t happen. EMI initially favored the flip side, “Breakin’ Down the Walls of Heartache,” but the final release propelled Dexys to their first UK number one, holding its grip on the charts for two weeks and reaching number two in Ireland—a testament to its crowd-pulling magnetism.

The track’s tight production by Pete Wingfield serves the clear directive: highlight the blaze. Kevin Rowland’s fervent delivery, Geoff Blythe and Steve Spooner’s saxophones, “Big” Jim Paterson’s trombone—each piece clicks into an arrangement manic yet precise, evoking the very urgency the band demanded of themselves during their straight-edge early phase.

Yet, the risk of homage is subsuming the originator—and at times, “Geno” treads dangerously close to that boundary. For all its vitality, parts of the song feel less like Dexys finding themselves and more like a fevered act of mimicry, albeit a compelling one. That tension, though, also lends it a pulse—a tugging energy between past influence and modern stamp.

A permanent fixture in concert setlists and even in the collective memory of UK music fans chanting its title, “Geno” eventually landed itself in the pages of *1001 Songs You Must Hear Before You Die* and helped shape the horn-rich sound later popularized by contemporaries like the Specials. It’s not exactly subtle, but neither was the ambition fueling it.


Featured on the 1980 album “Searching For The Young Soul Rebels“.

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

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4 . Rainbow – I Surrender

“I Surrender” showcases Rainbow navigating the evolving musical terrain of early ’80s rock, shedding their heavier roots for a sleeker, radio-friendly veneer. Penned by Russ Ballard, the track had its first outing via Head East in 1980, but it found its true footing with Rainbow’s 1981 rendition, included in their album “Difficult to Cure.”

The recording reflects a period of turbulence and transition. Graham Bonnet initially laid down backing vocals, but his departure made way for Joe Lynn Turner, whose polished yet emotive delivery brought a fresh commercial appeal. If Bonnet was raw power, Turner was a finely tuned engine, tapping into the melodic softness that Ritchie Blackmore, influenced by bands like Foreigner, seemed keen to embrace.

On the UK charts, the song peaked at an impressive number 3, marking Rainbow’s most significant commercial success across a ten-week streak. A curious subplot? Heavy metal contemporaries, Praying Mantis, had laid groundwork on the track only to be sidelined, their version shelved in favor of Rainbow’s higher-profile release—a move emblematic of the cutthroat dynamics within the industry.

The song’s pairing with an instrumental B-side, “Vielleicht das nächste Mal (Maybe Next Time),” offers a prickly linguistic misstep to chuckle over. The title’s flawed German is later retrofitted, but it does little to distract from the track’s introspective edge, courtesy of Blackmore and Don Airey.

Decades later, Ritchie Blackmore’s Rainbow reimagined the track with Ronnie Romero in 2017, a calculated introduction of Romero to a legacy-familiar audience. Despite new vocal flair, the original’s essence—heavily indebted to Turner’s butter-smooth phrasing—remains the definitive version.

“I Surrender” has since been a muse for artists spanning genres, from Finnish metal acts like Stratovarius to pop interpretations by Tove Lo. This acknowledgment across styles underscores the track’s carefully constructed accessibility, even if Rainbow’s journey from heavy rock pioneers to purveyors of polished anthems isn’t universally celebrated. Balancing ambition and compromise, the track embodies a band finding its footing in shifting musical sands. The results, chart-topping or not, are as polarizing as they are fascinating.


Featured on the 1981 album “Difficult to Cure”.

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

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5 . The Dickies – Fan Mail

Released as a single in 1980, “Fan Mail” finds The Dickies squarely in their pogo-punk wheelhouse, blending rapid-fire guitars with the kind of playful irreverence that earned them their moniker as “the clown princes of punk.”

The track, which peaked at number 57 on the UK Singles Chart, is less an envelope-pushing declaration and more a sonic postcard from a band that thrives on melding humor with velocity.

Musically, the song sits comfortably alongside the band’s earlier successes, with Leonard Graves Phillips’ cartoonishly earnest vocals buoyed by Stan Lee’s brisk guitar work, Billy Club’s full-bodied bass, and Karlos Kaballero’s relentless drumming.

The rapid tempo underscores their foundational ethos–a collision of bubble-gum melodies and raw punk urgency, honed during their late ’70s and early ’80s run.

While the choruses are pleasingly infectious, the band’s allegiance to humor and speed sometimes leaves little room for depth, a trademark that works to both their credit and detriment.

Unlike their quirky top-10 UK hit “Banana Splits (Tra La La Song)” or their darker-toned “Nights in White Satin” cover that reached the UK Top 40, “Fan Mail” doesn’t aim for the same broader resonance.

Instead, it sits comfortably within their discography as an energetic if fleeting reminder of their penchant for turning punk into a carnival.

By this point, their output, including *The Incredible Shrinking Dickies* and *Dawn of the Dickies*, already mapped a consistent soundscape of frenzied riffs and satirical leanings, with this track serving as a minor yet characteristic piece of that mosaic.

While devoid of notable collaborations or groundbreaking claims, “Fan Mail” functions as both a time capsule and a postcard—a brief but telling glimpse into The Dickies’ high-speed, laughter-laden punk parade.


Featured on the 1979 album “Dawn of the Dickies”.

Lyrics >> More by the same : Official Site

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6 . The Bluebells – Cath

Released in 1983, “Cath” by The Bluebells offers a jangly, guitar-driven snapshot of the Scottish indie new wave scene that was quietly flourishing alongside peers like Aztec Camera and Orange Juice.

Written by guitarist and founder Bobby Bluebell (Robert Hodgens), the track serves as an early glimpse into the band’s melodic instincts, albeit without completely crystallizing their sound.

Initially peaking at a modest number 62 on the UK Singles Chart, the song’s 1984 re-release brought it slightly further into the public consciousness, climbing to number 38.

While this ascent to the Top 40 signals progress, it feels more like a slow burn than a breakthrough.

Situated on their eponymous EP, “The Bluebells,” the track is notable for embodying the band’s earnest, homespun aesthetic.

The absence of external collaborations underscores the song’s insular quality, placing full responsibility for its success—or lack thereof—squarely on the band.

Ken McCluskey’s vocals carry a certain charm, though they hover closer to “pleasant” than “riveting,” leaving much of the heavy lifting to the shimmering guitar lines and rhythm section anchored by David McCluskey (drums) and Lawrence Donegan (bass).

Still, that jangly pop optimism occasionally masks a lack of deeper, emotional heft.

As part of their early years performing local venues and signing with London Records in 1981, “Cath” symbolizes a step, not a leap, toward greater things.

Though The Bluebells would disband in the mid-1980s, their frequent reformations—culminating as recently as 2023—suggest an enduring fondness for this era, even if “Cath” doesn’t quite transcend its moment of release.


Featured on the 1984 album “Sisters”.

Lyrics >> More by the same : Facebook

7 . Les Enfants – Slipaway

“Slipaway” by Les Enfants, released in 1985, occupies a space somewhere between understated ambition and fleeting resonance.

The group, helmed by Ronan O’Hanlon and John MacEvilly, with Derek Herbert joining in 1982, channels a sound that’s arguably reflective of their work in Dublin’s club scene, where they carved out a modest presence.

Herbert, previously linked with Luminants and Shattered Light, lends his voice, potentially the most distinctive asset here, though it’s hard to overlook how rooted the song feels in the sonic trends of its time.

As a single, “Slipaway” achieved minor traction, securing a position on the UK Singles Chart, though exactly where remains a mystery that feels fitting for a track that skirts significance without fully grasping it.

Released in the era’s quintessential 12-inch vinyl format, the song is cataloged neatly on Discogs for the archival crowd, complete with details that might intrigue those tracking the band’s fleeting discography.

The track affords glimmers of a band aiming beyond their reach, but it doesn’t quite crystallize into the hit it aspires to be, despite its chart flirtation.

Instead, it remains one of those ephemeral curiosities of mid-’80s pop, remembered mostly by enthusiasts of niche lore and completists of indie history.


Featured on the 1985 album “Touché”.

Lyrics >> More by the same : Official Site

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8 . The Silencers – I See Red

“I See Red,” a 1988 single by The Silencers, captures the band’s knack for blending melodic pop with Celtic undertones, but not without its quirks.

Featured on their sophomore album, “A Blues for Buddha,” the song represents a confident step forward after the experimental charm of their debut, “A Letter From St. Paul.” Produced by Flood and recorded at Glasgow’s CaVa Studios, the track benefits from polished production, but there’s a lingering tension between its folk-inspired roots and the broader rock ambitions it reaches for.

It’s worth noting the track’s modest success, landing at 93 on the UK Singles Chart, a reflection of the band’s consistent, if niche, audience in Britain. Jimme O’Neill’s songwriting—shaped by his earlier work with Fingerprintz and artists like Paul Young—shines through, though at times it teeters on predictability. Cha Burns’s guitar work is atmospheric but occasionally feels restrained, as though tiptoeing around its own potential for bolder riffs.

The Silencers’ signature sound, reminiscent of U2 and Big Country, is evident here but feels more subdued. The track sits comfortably alongside other notable efforts from the album, such as “Scottish Rain,” but lacks the immediacy of a breakout hit like “Painted Moon.”

The band’s touring chops, honed through performances with The Alarm and their Wembley appearance with Simple Minds, are hinted at in the song’s structure, which calls for a live setting to fully realize its dynamics. Yet on record, “I See Red” feels like a strong supporting act rather than the star. While not without its flaws, the track reflects the band’s evolving artistry during the late 1980s. B-


Featured on the 1987 album “A Letter From St. Paul”.

Lyrics >> More by the same : Official Site

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9 . Spider – Gimme Gimme It All

“Gimme Gimme It All,” released by the British rock band Spider in 1986, stands as a mid-’80s hard rock artifact that showcases both the strengths and limitations of that era’s heavy metal aspirations.

Packaged in formats as diverse as a 7-inch vinyl single and a limited-edition live single, the song’s reach was undeniably strategic, though the fragmented rollout through a doublepack UK 7″ vinyl and an extended 2011 streaming version suggests a band hedging its bets more than commanding the spotlight. It ultimately served as a teaser for their album “Raise The Banner” (catalog number N65561), steered into existence by producer Lone Wolf. The production itself wears England’s sonic signature lightly, prioritizing grit over polish, though whether this was a deliberate aesthetic choice or budgetary constraint remains opaque.

From an arrangement perspective, “Gimme Gimme It All” builds itself on a foundation of genre staples—power chords and assertive rhythms that straddle the line between defiance and predictability. Its title is as insistent as the riff beneath it, though it risks slipping into platitude, an anthem shackled by its own unrelenting simplicity. Yet, for all its monotony, there’s a raw earnestness here, a willingness to pound its chest loudly, no matter how formulaic the echo.

In hindsight, “Gimme Gimme It All” may feel less like a banner raised than a flag waved—spirited, yes, but fluttering too much in the wind of its influences to stake its own claim.


Featured on the 1986 album “Raise The Banner”.

More by the same : Wikipedia

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10 . Ratt – You’re In Love

“You’re In Love,” a 1985 single from Ratt’s sophomore effort “Invasion of Your Privacy,” doesn’t deviate far from the glam-metal formula that defined the era, but it’s precisely that lack of deviation that both serves and limits it.

Stephen Pearcy’s vocals swagger over a guitar riff that clings tightly to Robbin Crosby’s melodic instincts, offering a sturdy, if predictable, backbone. The lyrics—credited to Pearcy, Crosby, and Juan Croucier—get by on the fumes of rock cliché, but they rarely aspire beyond their surface-level declaration of emotional limbo.

Chart impact tells a similarly modest story: it achieved a respectable peak of 34 on the Mainstream Rock Tracks chart but barely cracked the Billboard Hot 100, settling at 89. Internationally, it mirrored these middling accomplishments, with positions like 67 in Canada’s RPM Top Singles chart and 82 in the UK Singles Chart, highlighting its role as more of a footnote than a headline in Ratt’s catalog.

Where “You’re In Love” gained some traction was on MTV, with a music video that embraced glam-metal’s theatrical underpinnings, helping propel the song into a fleeting moment of popularity. That visual push wasn’t enough to obscure the song’s reliance on the genre’s overused tropes, though.

Still, “You’re In Love” continues to linger in Ratt’s legacy, reappearing on compilation albums such as “Ratt & Roll 81–91” and “Tell the World: The Very Best of Ratt.” The track encapsulates the spirit of a band enjoying its commercial peak but simultaneously exposes the formulaic cracks that would prevent them from transcending the scene they epitomized. It’s catchy but largely forgettable—a snapshot of a band running with the pack rather than leading it.


Featured on the 1985 album “Invasion of Your Privacy”.

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

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11 . Cockney Rejects – Bad Man

“Bad Man” by the Cockney Rejects arrives with the unpolished grit you’d expect from a band forged in the East End of London during the economic tumult of the late ’70s.

Released in 1980 as part of a 7-inch single under EMI, it barely nudged its way onto the UK Singles Chart, managing a modest peak at number 65.

The song fits snugly within the band’s working-class ethos, channeling the chaos of inner-city life into two and a half minutes of snarling punk energy. Its lyrical focus on police harassment and street battles feels more reportage than rebellion, offering a blunt commentary rather than poetic resolve.

Lead singer Jeff “Stinky” Turner’s delivery is sharp and immediate, though it lacks the nuance to elevate the track beyond a protest anthem of its time.

The backstory of the Cockney Rejects suggests a whirlwind rise—signed by EMI after just four gigs and later cementing themselves in punk lore with tracks like “Oi, Oi, Oi,” the inadvertent catalyst for the Oi genre.

Compared to the chart-topping draw of their debut album, “Bad Man” is more of a footnote, devoid of the same visceral appeal or lasting influence.

The band’s allegiance to West Ham United often infused their music with a tribal camaraderie, though that trademark swagger is muted here, leaving the track feeling stripped of the larger-than-life bravado that defines their more iconic moments.

Decades later, even with a revamped lineup that includes Olga from the Toy Dolls and Ray Dust from The Business, “Bad Man” remains more historical artifact than enduring classic—a snapshot of a turbulent career rather than a centrepiece of it.


Featured on the 1980 album “Greatest Hits Volume 1”.

Lyrics >> More by the same : Facebook

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12 . Scorpions – Passion Rules The Game

“Passion Rules the Game,” from Scorpions’ 1988 album “Savage Amusement,” encapsulates the band’s signature blend of hard rock grit and melodic precision, though not without its limitations.

Herman Rarebell’s music crafts a kinetic backdrop, driven by his drumming and bolstered by Klaus Meine’s crystalline vocal delivery. Together, they shape an energetic piece that oscillates between raw urgency and calculated polish. Lyrically, the track reflects perpetual motion: a narrative of risk, passion, and pursuit that parallels the relentless touring lifestyles of late-’80s rock bands. Still, the themes, while universal, flirt with predictability, offering little beyond surface-level intrigue.

The production adheres to the glossy sheen of “Savage Amusement,” a pivot toward radio-friendly sounds compared to Scorpions’ earlier ferocity. Yet, that polish dulls the edges, trading visceral power for accessibility. It fits snugly within the album’s broader framework, which peaked at No. 5 on the US Billboard 200 and achieved platinum certification by the RIAA, signaling its commercial appeal. Ironically, despite the album’s success, “Passion Rules the Game” remains an unsung player, bypassed by major chart recognition.

Viewed in isolation, the track is competent—a cog in the greater “Savage Amusement” machine. While it sustains fans’ interest through Scorpions playlists and compilations, it lacks the magnetism of the band’s standout classics. Its accompanying video offers a visual representation, but it stops short of cementing the track as an enduring staple of Scorpions’ expansive five-decade catalog.


Featured on the 1988 album “Savage Amusement”.

Lyrics >> More by the same : Official Site

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