‘We Are Live’ N°4 – Vintage 80s Music Videos

1 . Katrina And The Waves – Que Te Quiero

Katrina and The Waves’ “Que Te Quiero,” nestled in the tracklist of their 1983 debut “Walking on Sunshine,” reflects the early pop-rock earnestness of a band teetering on the brink of their eventual commercial success.

Released under Attic Records, this pre-breakthrough track exhibits a layered combination of breezy instrumentation and Katrina Leskanich’s distinct vocal delivery, with themes of longing and devotion anchoring the song.

In contrast to the euphoria of their later hits, it offers a more tempered but still engaging melody, pulling off the curious balance of emotional vulnerability with rhythmic buoyancy.

The guitar work by Kimberley Rew, already showcasing his knack for catchy hooks, complements the lyrics with unassuming charm, giving listeners an early glimpse of his songwriting prowess.

While it wasn’t destined for chart dominance—peaking only moderately in the UK—it found footing among fans who appreciate the formative years of the band’s music.

A music video, emblematic of the performance-focused aesthetic of the early ’80s, projects a no-frills authenticity, though it neither revolutionizes the medium nor pretends to.

Misfires don’t abound, but neither does it jostle for space with their more kinetic anthems, landing instead as an understated detour into the band’s growing vocabulary of pop-song crafting.

“Que Te Quiero,” often eclipsed by bigger hits, exists as a time capsule of a band refining their identity while delivering a track imbued with sincerity, cheerful melodies, and the occasional shadow of melancholy.

Featured on the 1983 album “Walking on Sunshine”.

Lyrics >> More by the same : Official Site

2 . Bruce Willis – Comin’ Right Up

Bruce Willis’s “Comin’ Right Up” is a curious gem that sits comfortably in the late ’80s era of quirky celebrity crossovers.

Released in 1987 as part of *The Return of Bruno*, the song leans into pop-rock with traces of blues and R&B influences, reflecting the playful charisma Willis channeled in his early career.

Produced by Robert Kraft and housed under the legendary Motown Records, the track epitomizes an awkward but oddly endearing moment when actors dared to moonlight as musicians without irony.

Although overshadowed commercially by other singles like the chart-climbing “Respect Yourself,” Willis’s performance here brims with humorous energy and a casual lack of self-seriousness, lending the album its oddball charm.

The song may not have lit up the charts—it peaked modestly at #25—but its cheeky nature and rhythmic bounce resonate as nostalgic markers of the era’s obsession with showbiz versatility.

Viewed today, “Comin’ Right Up” feels like a lighthearted artifact, a fun yet fleeting pivot in a career otherwise defined by guns, explosions, and that unmistakable smirk.

Featured on the 1987 album “The Return of Bruno “.

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3 . Dire Straits – Walk Of Life

Back in 1985, Dire Straits threw a quirky curveball into their otherwise polished “Brothers in Arms” with “Walk of Life,” a track that sounds like it stumbled out of a neighborhood pub with a keyboard riff sticking to its sleeve.

Mark Knopfler’s songwriting takes a rare turn toward unbridled optimism here, ditching the band’s usual wry observations for a feel-good anthem about resilience and, well, doing what you love.

Guy Fletcher’s bouncy keyboard riff leads the charge, its sheer simplicity giving the song its charm—or perhaps making it feel a little like a jingle that wandered off its advertising gig and decided to go global instead.

The song cheekily climbed to #2 on the UK charts and found itself cozying into the US Top 10, celebrating everyday underdogs with a whistle-while-you-work energy.

You might question its placement on an album otherwise filled with moody introspection and meticulous craftsmanship, but that’s part of the appeal—it’s a joyful shrug on a record otherwise wearing its big ideas on tailored sleeves.

The music video adds another dose of charm with its slapstick sports bloopers, tonally matching the track’s lovable levity and nostalgia.

To this day, it’s a perennial favorite at sports events and in films because, let’s face it, sometimes you need a song that just wants to dance around unapologetically in sneakers and a grin.

Featured on the 1985 album “Brothers in Arms“.

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4 . Robert Palmer – She Makes My Day

Released in 1988 as part of his ninth studio album, “Heavy Nova,” Robert Palmer’s “She Makes My Day” surfaces as a refined blend of pop elegance and ballad-like intimacy.

Written and produced by Palmer himself under the EMI Records banner, the track captures a distinct sense of romantic reverence without tipping into saccharine territory.

The UK audience took a particular liking to it, propelling the song to number 6 on the UK Singles Chart—a fitting reception for its lush orchestration and unmistakably velvety vocal delivery.

With its heartfelt lyrics and restrained yet impactful melodies, the song exudes a quiet confidence, reflecting Palmer’s skill in conveying devotion with sincerity and flair.

Though it wasn’t attached to any major awards, its parent album did share in the Grammy limelight for another notable single, “Simply Irresistible,” painting a broader picture of Palmer’s late-80s prowess.

The accompanying music video, a quintessential artifact of the era, saw steady airtime, adding a visual layer to its understated charm.

Whether rediscovered through a late-night YouTube scroll or remembered fondly from its release, the song serves as a subtle reminder of Palmer’s penchant for both class and versatility in his craft.

Featured on the 1988 album “Heavy Nova “.

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5 . The Waterboys – Fisherman’s Blues

Released in 1988, “Fisherman’s Blues” marked an unexpected chapter for The Waterboys, steering their sound away from rock’s sharp edges toward an earthy fusion of Celtic folk and rock textures.

Mike Scott, leading the charge with co-producers Bob Johnston and Barry Beckett, crafted a track steeped in longing and a heart-tugging sense of nostalgia, showcasing their ability to straddle musical traditions without losing emotional immediacy.

Despite the pivot in style, the song managed to secure No. 3 on the Irish Singles Chart and a respectable No. 32 in the UK—a chart performance that may not scream monumental but reflects its quiet cultural resonance.

Fiddle player Steve Wickham deserves a nod here, injecting a staggering authenticity that reshaped the group’s identity on this record, recorded partially in the rolling rhythms of Dublin and the windswept isolation of Spiddal House in County Galway.

With an expansive recording process producing over 100 fragments of inspiration, the track conceals none of its roots in spontaneity, transporting listeners to simpler, wistful spaces while avoiding overindulgent sentimentality.

Its cultural footprint extends far and wide, landing cameos in “Good Will Hunting” and “Waking Ned Devine,” firmly rooting itself as a backdrop to reflective narratives and gentle cinematic moments alike.

The accompanying music video channels the song’s pastoral charm, a tranquil visual reflection of its lyrical yearning for quietude and connection, available for modern audiences to rediscover on platforms like YouTube.

While the original album holds its own as a cornerstone of a revamped era for the band, a 2006 reissue brought forth an array of outtakes, cementing “Fisherman’s Blues” not as a single track but as a touchstone to a sprawling creative peak.

Featured on the 1988 album “Fisherman’s Blues”.

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

6 . Simple Minds – Waterfront

Released in November 1983, Simple Minds’ “Waterfront” is a thunderous declaration of their evolving style, stepping away from their post-punk roots into a more expansive, arena-worthy sound.

Propelled by Derek Forbes’ distinctive bassline, the song pulses with an unrelenting energy, capturing both a sense of urgency and a reflection of urban reinvention.

Producer Steve Lillywhite’s touch amplifies the track’s anthemic quality, introducing a heavier, rhythmic drive that would become a hallmark of the band’s subsequent work.

The lyrics, delivered with Jim Kerr’s signature vocal intensity, pair pride and determination with a tangible yearning, offering a glimpse into a changing cultural and personal landscape.

“Waterfront” didn’t just perform well on the charts—it reached number 13 in the UK and climbed further across Europe, resonating particularly well in Ireland and New Zealand.

The accompanying music video, shot on location in Newcastle upon Tyne, paired industrial grit with the band’s electrifying charisma, ensuring heavy rotation on MTV and cementing the track’s global appeal.

Its pounding percussion and monumental crescendos made it a perfect candidate for live performances, most notably during their appearance at Live Aid in Philadelphia—a moment etched into the 1980s music narrative.

While it eschews overt lyrical complexity, the song’s simplicity is its strength, a rallying cry underscoring resilience and renewal, themes that still resonate decades later.

Even without accruing awards, “Waterfront” endures, frequently appearing on greatest hits compilations and playlists, proving its place in the canon of ’80s rock epics.

Featured on the 1984 album “Sparkle in the Rain”.

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

7 . Slade – My Oh My

Released in the frosty embrace of November 1983, Slade’s “My Oh My” proved there’s more to glam rock than platform boots and glittered swagger.

This power ballad hit the sweet spot between anthemic grandeur and plaintive longing, penned by the band’s ever-charismatic frontman Noddy Holder and bassist Jim Lea.

Originally part of their eleventh album *The Amazing Kamikaze Syndrome*—renamed *Keep Your Hands Off My Power Supply* to placate American ears—it caught a surprising gust of success stateside, climbing to No. 37 on the Billboard Hot 100.

In the UK, though, it soared higher, peaking at No. 2 and lingering in the Top 10 for seven satisfying weeks, a feat that only a band as seasoned as Slade could pull off during the cusp of holiday-season chart wars.

Musically, it’s a textbook power ballad, dripping with swelling choruses and theatrics that aim straight for the rafters, underpinned by Lea’s deft production touch.

The music video embraced seasonal kitsch, spotlighting a snow-dappled stage, amplifying its wintery associations for listeners already knee-deep in holiday spirit.

Live performances revealed its latent bombast, becoming a crowd favorite and later finding a permanent spot on various compilation albums.

Paired with ambitious arrangements and lyrics brimming with devotion, “My Oh My” is both earnest and unapologetically melodramatic—a characteristic concoction Slade serves with flair.

It’s a rare moment where glam rock nostalgia waltzed with pop rock immediacy, giving the band one of their last truly widescreen hits before the genre went from stadiums to cult memories.

Featured on the 1983 album “The Amazing Kamikaze Syndrome”.

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

8 . The Cross – Shove It

The Cross’s “Shove It” is one of those tracks that screams late 80s attitude, wrapped up in Roger Taylor’s penchant for sonic experimentation.

A hybrid of rock, funk, and a touch of electronic mischief, it struts along with a cocky defiance that, while not earth-shattering, feels unapologetically bold.

Written and produced by Taylor, the song sits as the title track of his post-Queen venture’s debut album, released in 1988 under Virgin Records.

It finds itself caught between rebellion and cheeky self-assurance, showcasing Taylor’s determination to carve out a lane distinct from Queen’s grandeur.

The instrumentals lean on Clayton Moss’s edgy guitar riffs and Peter Noone’s solid basslines—not the sort of groundbreaking innovation that reinvents genres, but enough groove to keep heads nodding.

Spike Edney’s keyboard layers and Josh Macrae’s drumming attempt to inject complexity amidst the song’s swagger-heavy simplicity.

While the track stirred modest interest in European charts (Germany seemed to wave a small flag of approval), it barely moved the needle globally.

The accompanying music video, now a relic of its MTV-era aesthetics, captures all the neon-and-leather glamour one might expect from a late 80s rock release.

What’s curious is its existence juxtaposed with the album’s standout moment, “Heaven for Everyone,” featuring Freddie Mercury’s guest vocals—a far cry in sentiment and execution from the punchy irreverence of “Shove It.”

Though The Cross’s live performances primarily resonated within Europe, the promotional efforts surrounding “Shove It” didn’t quite cement the track as anything beyond a niche statement piece in Taylor’s portfolio.

It’s a track that doesn’t ask for universal adoration and, to its credit, seems content just winking at the listener, armed with a rebellious grin and a funky beat.

Featured on the 1988 album “Shove It “.

Lyrics >> More by the same : Wikipedia

9 . Gary Moore – After The War

Gary Moore’s “After the War” is a charged rock anthem that marks a transitional moment in his artistic trajectory, bridging his hard rock roots and a future leaning deeper into blues.

This 1989 track, part of his album of the same name, doesn’t shy away from politically tinged themes, offering a meditation on conflict’s lingering scars wrapped in punchy guitars and soaring melodies.

The production, helmed by Peter Collins, bears a polished yet visceral edge, underlining Moore’s ferocious yet melodic guitar work, and features Cozy Powell’s drumming, adding a thunderous backbone.

Released under Virgin Records, the song, while overshadowed commercially by the album itself, stood out as a statement piece symbolizing Moore’s creative restlessness.

His signature guitar phrasing exudes both defiance and vulnerability, threading the lyrical themes of reconciliation with a sense of determination.

“After the War” stands as a reflective yet robust farewell to Moore’s hard rock phase before he ventured into full-fledged blues with his next chapter, “Still Got the Blues.”

The accompanying tour further cemented this period as a swan song for his rock identity, with performances that blended technical mastery and emotive depth, leaving an unmistakable impact on his devoted following.

Featured on the 1989 album “After The War “.

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

10 . Cheap Trick – The Flame

Released in 1988, “The Flame” marked a critical turning point for Cheap Trick, a band that had seen their commercial fortunes wane during the mid-’80s slump.

This power ballad, crafted by British songwriters Bob Mitchell and Nick Graham, deviated from the band’s usual self-written repertoire, a decision born out of an external demand for fresh collaborations on their album “Lap of Luxury.”

With themes of heartfelt longing, devotion, and vulnerability, the song’s shimmering production by Richie Zito elevated its emotional impact without veering into excessive melodrama.

Clocking in at just over four minutes, “The Flame” burned brightly on the charts, claiming the top spot on the U.S. Billboard Hot 100 and basking in similar glory internationally, including Canada and parts of Europe.

Critics often view it as an unusually polished moment for a band more associated with power-pop grit than soaring earnestness, yet this calculated shift in tone undeniably rekindled Cheap Trick’s mainstream appeal.

The accompanying music video, a distinctly ’80s concoction of hazy lighting and intense gazes, served as a visual distillation of its aching refrain, securing heavy rotation on MTV during the network’s golden days of pop-rock dominance.

Despite its success, die-hard fans often argue over its place in the band’s canon, torn between celebrating its chart-topping achievement and lamenting its divergence from their raw, quirky edge.

Still, as a staple in their live sets at major venues and festivals around the world, “The Flame” refuses to flicker out, radiating a nostalgic glow for audiences who continue to hum its unforgettable melody decades later.

Its ability to evoke a universal yearning while anchoring itself to that uniquely ’80s arena-ballad aesthetic remains an enduring draw, a rare instance of calculated commercialism that resulted in a bona fide classic instead of disposable fluff.

Featured on the 1988 album “Lap of Luxury”.

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

11 . Mike + The Mechanics – The Living Years

Released in 1988, Mike + The Mechanics’ “The Living Years” serves up an emotionally charged reflection on regret and intergenerational disconnect.

Crafted by Mike Rutherford and B.A. Robertson, the song channels personal loss into a universal lament, drawing from Rutherford’s complicated relationship with his late father.

Its soft rock landscape, marked by contemplative piano melodies and Paul Carrack’s soulful voice at the helm, pushes the song beyond mere sentimentality, landing it firmly into the realm of global resonance.

The track’s chart history speaks volumes—reaching No. 1 on the Billboard Hot 100 while just missing out on the top spot in its UK homeland.

Critics were quick to laud its reflective lyrics, which skirt the usual clichés of heartfelt ballads to tap into something distinctly personal yet eerily relatable.

Visually, the Howard Greenhalgh-directed video breaks no cinematic ground, but it effectively mirrors the song’s emotional heft with unassuming sincerity.

Cultural retrospectives, like VH1’s ‘Top 100 Greatest Songs of the 80s,’ continue returning to its heartfelt narrative, ensuring it a spot in the annals of pop balladry.

While the melody risks teetering on the edge of schmaltz, it’s restrained just enough to leave its themes of reconciliation and missed chances lingering in the listener’s mind long after the final note fades.

Featured on the 1988 album “The Living Years “.

Lyrics >> More by the same : Official Site

12 . Joe Jackson – It’s Different For Girls

Joe Jackson’s “It’s Different for Girls” pulls no punches, flipping traditional gender expectations on their heads with sharp lyrics and an emotionally complex narrative.

Released in 1979 as part of the album *I’m the Man,* the track swerved away from the fast-paced energy of its peers, opting for a contemplative tempo that highlighted Jackson’s knack for flipping tropes.

The song lands its punches with lines that dissect misunderstandings in romantic dynamics, giving equal weight to longing and confusion, vulnerability and frustration.

Produced by David Kershenbaum under A&M Records, it pushed into the UK Top 5 for good reason, staying on the charts for weeks—not a minor feat for a tune defying expectations.

The arrangement itself is deceptively simple, stripping away the excess to let Jackson’s wry commentary shine through.

An accompanying music video, understated yet effective, doubled down on the introspective mood, aligning perfectly with the song’s refusal to play nice with clichés.

While its impact across the Atlantic didn’t mirror UK success, the track’s legacy hasn’t dulled, continually cropping up in compilations and cover versions, which speaks just as loudly as any chart-climbing accolade ever could.

Featured on the 1979 album “I’m the Man”.

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