‘We Are Live’ N°6 – Vintage 80s Music Videos

1 . The Doobie Brothers – What A Fool Believes

Few songs encapsulate the late ’70s soft rock ethos as succinctly as “What A Fool Believes” by The Doobie Brothers.

Released in 1979 on their album “Minute by Minute,” this track doesn’t just flirt with yacht rock—it anchors the genre with unapologetic polish.

Thematically, it tells the all-too-familiar tale of a man mistaking polite nostalgia for rekindled romance, a narrative delivered through Michael McDonald’s unmistakable warble.

Musically, its structure is as smooth as an ocean breeze, powered by McDonald and Kenny Loggins’ razor-sharp songwriting and Ted Templeman’s glossy production.

The rhythm struts in a measured groove, a seamless blend of keyboards and bass, punctuated by vocal inflections exuding both jazz sensibilities and pop accessibility.

In April of 1979, its zeitgeist-grabbing appeal catapulted the song to number one on the US Billboard Hot 100.

That said, the track’s transatlantic success was less dazzling, only mustering a humble number 31 on the UK charts.

For all its polish, there’s an undercurrent of melancholy in its lyrics, cutting against the grain of its glossy production with surprising poignancy.

It’s no wonder the track swept the Grammys in 1980, nabbing both Song of the Year and Record of the Year, arguably defining The Doobie Brothers’ peak cultural moment.

If you strip away pigeonholes and labels, what remains is a fusion of technical precision and earnest storytelling that continues to resonate—even when viewed through the rearview mirror of decades past.

Featured on the 1988 album “Minute by Minute”.

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2 . Blue Zoo – Loved One’s An Angel

Blue Zoo’s 1983 single “Loved One’s An Angel” nestles itself within the pop/rock axis of the early ’80s, a time when synthesizers were flexing their neon muscles and romanticism was often clad in shoulder pads.

The title alone leans heavily into sentimentality, evoking an idealistic, almost cinematic portrayal of affection—the kind you’d expect to soundtrack a montage of meaningful glances and wistful sighs.

The lack of a prominent producer or flashy marketing campaign leaves this vinyl release feeling more like a quietly whispered secret than a full-throated blast from the speakers.

It is discovered on platforms like Discogs, a modern-day archeological dig for forgotten tunes, where the song’s details trickle through with the same kind of cautious reserve you’d expect from a band that didn’t exactly storm the charts.

Culturally, its release year places it in the shadow of heavy-hitting contemporaries, yet its quiet sincerity might be its most enduring trait, offering a modest counterpoint to the bombast of its era.

At its core, “Loved One’s An Angel” seems unbothered by its omissions in music history books; it exists like an unopened letter from the past, compelling you to consider what might have been written inside.

Featured on the 1978 album “2 By 2”.

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3 . Bros – I Quit

“I Quit” by Bros delivers a potent message of emotional withdrawal, dripping with the melodrama quintessential to 1988’s pop-synth landscape.

The track thrives on a layered production steeped in electronic textures, showcasing the Goss brothers’ flare for catchy yet angsty tunes.

Lyrically, it toys with themes of disconnection and self-preservation, resonating with anyone who’s ever wanted to ghost their social circle for a hot minute.

Matt’s vocals channel a mix of defiance and exhaustion, perfectly complementing the song’s icy synth backdrops.

Though it’s not often cited as their magnum opus, “I Quit” captures Bros at a pivotal moment when their big hair and bigger hooks ruled the charts.

This isn’t a highbrow triumph, nor does it wield profound originality—but it compensates with unyielding earnestness and a razor-sharp ’80s energy.

The music video leans heavily on period-specific aesthetics, amplifying the theatrical aura that made Bros a household name during their heyday.

With its mix of biting frustration and electronic optimism, the track remains an underrated entry in the late-’80s pop diaspora.

Featured on the 1986 album “Push”.

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4 . The Jam – Down In The Tube Station At Midnight

Released in 1978, *”Down in the Tube Station at Midnight”* plants you squarely in a grim yet magnetic world where The Jam tinker with post-punk and mod revival sensibilities to craft something that feels both immediate and enduring.

Charting at a modest 15 on the UK Singles Chart, this track doesn’t flex its commercial success as much as its ability to weave a darkly poetic narrative about a violent mugging in one of urban life’s more unromantic locales—a tube station rendered almost claustrophobically vivid thanks to real underground sound recordings at St John’s Wood.

The composition itself layers strummed aggression with chiseled basslines and fragmented guitar riffs that mirror the tension the protagonist can’t escape, while Paul Weller’s delivery drops you squarely into the action with the conviction of someone sketching truth with a blunt pencil.

Vic Coppersmith-Heaven’s production sharpens every detail without losing the rawness that defines it, and the inclusion of nuances like vending machine tickets gives the track an uncanny immediacy that dares listeners to overanalyze its motives—there’s even chatter about its perceived political undercurrents.

Widely viewed as a benchmark for The Jam, it resurfaces in live performances and retrospectives like a shadow threatening to reveal itself simply because it never really fades.

Featured on the 1980 album “All Mod Cons“.

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

5 . Go West – True Colours

“True Colours” holds its ground as the lead single from Go West’s 1986 album *Dancing on the Couch*, delivering a slick blend of pop rock and blue-eyed soul that comfortably nestles within mid-80s production values.

Crafted collaboratively by the band alongside producers Dave West and Peter-John Vettese—who lends an acoustic piano texture—the track’s polished surface belies its emotional core, which wrestles with themes of vulnerability and relational introspection.

The song’s promotional push thrived on a neon-lit music video tailored for MTV’s peak power, reflecting the era’s penchant for pairing earnest musical performances with high-gloss visuals.

The track carved out a space in the UK Top 10, cementing its presence on a commercial level, though the accompanying *Dancing on the Couch* LP only reached number 19 on the UK Albums Chart.

Interestingly, the single’s various mixes, such as the “Snake Charmer Mix” and “Demo Mix,” attempt to play up its adaptability, though the core arrangement remains its strongest suit.

Go West, often synonymous with bolder, more kinetic songs like “We Close Our Eyes” and “Call Me,” pivots toward a subtler palette here without losing their signature melodic sensibility, proving that emotional openness can still land hooks without slipping into excess.

Featured on the 1986 album “Dancing on the Couch”.

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

6 . Sad Café – Strange Little Girl

Released in 1982 but originally composed by The Stranglers in 1974, *Sad Café’s* *Strange Little Girl* navigates peculiar musical and cultural terrain.

Though it found modest success on the UK Singles Chart at #32, its journey to recognition is riddled with twists, including a prior rejection by EMI and a subsequent re-recording by Sad Café that gave it new life.

The production credits point inward, with band members like Paul Young and Vic Emerson handling arrangements and production—a notable move that showcases their commitment to retaining control over their craft.

Musically, it aligns itself with pop-rock sensibilities but leans heavily on the melodic softness of adult-friendly ballads, creating a tune approachable to a broader audience without veering into saccharine territory.

The themes are decidedly dark: a rural girl succumbs to the unforgiving harshness of city life, a narrative that lends it a brooding dimension counterbalanced by its polished arrangement.

The promotional efforts for the song are intriguing—shooting a video in London amid a cast of punk extras, including the infamous “Spanish Lisa,” who reportedly shaved her head for £100, feels like a pointed nod to subcultural aesthetics.

There’s a peculiar charm to how the song bridges the lyrical gravity with its smooth listening experience, a dynamic that has likely contributed to its inclusion in Sad Café’s live setlists for over three decades.

Nevertheless, the track’s identity as a reimagining of another band’s work casts a shadow of ambivalence over its legacy.

On Top of the Pops, it showed that a well-polished rebirth can sometimes outshine neglected roots.

Featured on the 1986 album “Facades”.

Lyrics >> More by the same : Official Site

7 . Steve Winwood – Back In The High Life Again

Steve Winwood’s “Back in the High Life Again” finds the artist leaning into a realm of introspective reckoning, neatly packaged within a chart-friendly adult contemporary frame.

Released in January 1987 as a single, it hits a sweet spot between personal reflection and commercial sheen, strumming its way to number 13 on the Billboard Hot 100 and lounging at the top of the Adult Contemporary chart for three weeks.

The production helmed by Russ Titelman pairs crisp, radio-polished production values with an easygoing optimism, though “easygoing” understates the craftsmanship involved.

The song revels in its layered instrumentation, with the mandolin stealing scenes not often reserved for such a humble instrument in ’80s pop.

James Taylor’s recognizable backing vocals nudge the track further into the comforting territory of camaraderie, while Winwood’s delivery walks the line between restrained and soulful without overstepping into sentimentality.

Its accompanying music video, shot at a train station in Manassas, Virginia, feels strangely out of step with the song’s broader themes of personal rebirth—it’s meditative but lacks the song’s sweeping reach.

The track’s Grammy nomination for Record of the Year in 1988 suggests industry heads saw something timeless here, perhaps more timeless than history ultimately did.

Still, “Back in the High Life Again” serves as a benchmark of mid-’80s optimism dressed in high-gloss melodies, capturing Winwood at a juncture where he made commercial recalibration look deceptively like artistic growth.

Featured on the 1987 album “Back in the High Life”.

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

8 . The Mission – Wasteland

Released in 1987 as part of *God’s Own Medicine*, “Wasteland” anchors The Mission’s early discography with a sound that’s equal parts gothic rock, post-punk grit, and hard rock force.

The song toys with themes of moral struggle, laying out a battle between good and evil with an existential edge, a lyrical meditation dressed in dark melodic layers.

The production bears the weighty hand of John Paul Jones, though it never succumbs to self-indulgence—every note feels intentional, every crescendo measured.

The extended video version pushes the song’s boundaries, hinting at the broader impact of The Mission’s debut while leaning into its aesthetic of mythical brooding.

This track not only defined an era for the band but also served as a reference point for the 1980s gothic rock and post-punk revival, influencing acts that would later orbit the darkwave scene.

Formed just a year earlier, The Mission builds a soundscape riddled with tension, amplified by the turbulent dynamics of their infamous World Crusade II tour—a messy cocktail of ambitious gig schedules, personal demons, and inevitable lineup shuffles.

“Wasteland” has since been reimagined by others, providing a cornerstone for albums like *Songs from the Wasteland (A Tribute to the Mission)*, although none capture the raw alchemy of the original’s soaring contrasts.

In its essence, the song walks the fine line between timeless and specific, its darkly ornate charm resonating long after the post-punk dust settled.

Featured on the 1983 album “God’s Own Medicine”.

Lyrics >> More by the same : Official Site

9 . Deacon Blue – Dignity

“Dignity,” the 1987 debut single from Scottish outfit Deacon Blue, comes wrapped in workmanlike ambition and earnest storytelling.

Set against a lush pop-rock backdrop, the song revolves around a working-class dreamer who scrapes by mopping streets while planning to buy a boat he names Dignity—a quiet rebellion in a world stacked against him.

The tune draws heavily from the Springsteen school of blue-collar romanticism but trades gritty realism for a warm optimism that teeters on saccharine territory.

Ricky Ross’s lyrics aim for depth with nods to faith and perseverance, but they lean more toward a sketch than a masterpiece, kept afloat by Lorraine McIntosh’s harmonies that add texture without overwhelming.

Originally a sleeper hit, its eventual rise mirrored the track’s message: slow, unassuming progress with steadfast purpose.

Though neither groundbreaking nor daring, “Dignity” retains a certain charm in its sincerity, evoking more of a knowing head-nod than a rousing cheer.

Featured on the 1984 album “Raintown”.

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

10 . Spear Of Destiny – Prisoner Of Love

Released in 1984 as part of “One Eyed Jacks,” “Prisoner of Love” captures Spear of Destiny at a pivotal moment in their evolution, balancing their post-punk roots with a more radio-friendly edge.

The track peaked at No. 59 on the UK Singles Chart, reflecting modest success but hinting at the band’s broader ambitions within the new wave and rock-dance hybrid movement of the era.

Its lyrics, steeped in themes of love as captivity, toy with a romantic fatalism that borders on melodrama, an approach that fits snugly into the mid-’80s zeitgeist.

The production, while solid, feels somewhat anonymous, lacking a named producer to credit with any idiosyncratic touches, though the polished Epic Records release ensures it stays clean and accessible.

Musically, it merges rhythmic energy with brooding undertones, catering to both dancers and those drawn to the darker shades of rock.

Without an accompanying video to add a visual dimension, the song leans entirely on its sonic appeal, which manages to hold up despite the band’s clear shift toward commercial appeal.

This transition makes “Prisoner of Love” an interesting case: ambitious yet restrained, heartfelt yet tinged with calculated moves toward mainstream approval.

Featured on the 1972 album “One Eyed Jacks”.

More by the same : Official Site

11 . The Alarm – Where Were You Hiding? [When The Storm Broke]

The Alarm’s 1984 track, *Where Were You Hiding When the Storm Broke?*, makes a fiery impression as a combustible mix of folk-punk grit and hard-edged rock energy.

Part of the UK Top 10 album *Declaration*, it rides a tension-filled wave of acoustic strums and electrifying guitars, clearly bred in the same sonic ecosystem that birthed The Clash and early U2.

Thematically, it leans into conflict and accountability, with lyrics that seem determined to stare adversity straight in the eye—whether personal or societal is left deliberately ambiguous.

The vocals, powered by the band’s signature harmonies, add a layer of emotional immediacy, while the vigorous tempo feels unrelenting, almost as if the storm itself is pounding in rhythm.

Given the band’s penchant for anthemic hooks, it’s no surprise this single cracked the UK Singles Chart’s Top 20, further proving their ability to marry urgency with accessibility.

Though the record lacks the polish of contemporaries like U2, this rawness is part of its charm, anchoring it in the earnestness of the early ’80s post-punk ethos.

However, it’s a track that risks being overshadowed by its more famous *Declaration* sibling, “Sixty Eight Guns,” which remains their defining anthem for many.

As *Where Were You Hiding* blazes past, it leaves behind an impression of a band fighting to carve out moral clarity amidst chaos, a sentiment that resonates long after the last chord fades.

Featured on the album “Declaration”.

Lyrics >> More by the same : Official Site

12 . Hawkwind – Silver Machine

Released in 1972 as part of the “Glastonbury Fayre” compilation, Hawkwind’s “Silver Machine” catapults listeners into a hypnotic realm of space rock, blending chaotic energy with biting satire.

The track pokes fun at the era’s obsession with space travel, inspired by Alfred Jarry’s essay, which whimsically equates building a space machine to constructing a bicycle—absurdity baked right into its DNA.

Initially recorded live at London’s Roundhouse, the raw, unpolished version was given a studio overhaul when Robert Calvert’s vocals were swapped out for Lemmy Kilmister’s grittier delivery, much to the initial dismay of Calvert himself.

With Dave Brock’s jagged guitar riffs, Nik Turner’s unhinged saxophone, and the swirling synthesizers of Dik Mik and Del Dettmar, the song doesn’t just play; it spirals through a vortex of sound, propelled by Simon King’s relentless drumming.

The single’s success, peaking at #3 on the UK charts in 1972, brought mainstream visibility without compromising Hawkwind’s underground edge, a tightrope act few bands could pull off with such swagger.

The accompanying video, featuring Stacia’s surreal onstage presence, only deepened the track’s otherworldly allure.

Re-recorded in 1982 with a studio polish that extended its psychedelic appeal, “Silver Machine” simultaneously cements itself as a cultural artifact and a cheeky middle finger to rock’s more self-serious aspirations.

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