80ies was a time of the best musical videos. I love and know many of the ones you posted. Since 80s was a time of my youth - I love this music and listen to it even now. Toto "Africa" is one of mu most favorites.
A magic and spiritual song, one of the most beautiful songs of the eighties.
Donna Summer covered "State of Independence" on her 1982 album Donna Summer produced by Quincy Jones. It was released as the follow-up to her hit single "Love Is in Control (Finger on the Trigger)" in 1982. This version just missed the U.S. Top 40, peaking at #41. It did much better in Europe, including a one-week stay at number one in the Dutch Top 40, making it Summer's second chart-topper in the Netherlands. The single was reissued in Europe in 1990 following the release of the compilation album The Best of Donna Summer.
Quincy Jones assembled an all-star choir for Summer's recording, including Lionel Richie, Dionne Warwick, Michael Jackson, Brenda Russell, Christopher Cross, Dyan Cannon, Peggy Lipton, Dara Bernard, James Ingram, Kenny Loggins and Stevie Wonder. Jones has claimed that this song was a dress rehearsal for the song "We Are The World, which was written by Jackson and Richie and was produced by Jones. (Source: en.wikipedia.org/wiki/State_of_Independence )
Why Do Fools Fall in Love is an album by American singer Diana Ross, released in 1981 on the RCA label. It reached #15 in the United States (#4 R&B), #17 in the United Kingdom and the top ten in Sweden, Norway and the Netherlands.
Why Do Fools Fall in Love was the first album Ross recorded after leaving the Motown label, when she signed a $20 million deal with RCA. Originally, Nile Rodgers and Bernard Edwards were slated to produce the follow-up to the platinum Diana album. However, their schedules were filled with commitments to also produce Debbie Harry's solo debut, Johnny Mathis and another Chic album. Ross had given her word to RCA president, Robert Summers to deliver an album for the 1981 holiday selling season.
The album was the first to be produced by the singer herself, and it became her second RIAA-certified platinum album (That was also misleading, since Motown was inconsistent to joining the RIAA for most of their 1960s and 1970s releases. She would have considerably more certifications). It was also certified Gold in the UK and Canada.
Ross embarked on a world tour in support of the album.
The album was remastered and re-released on September 2, 2014 by Funky Town Grooves, with bonus material.
More typical British than this you can't have it. Briljant English (British) selfmockery. Colonial military dress.
As a 10 year old kid in 1980 I loved this Pretenders song.
"Brass in Pocket" (also known as "Brass in Pocket (I'm Special)") is a 1979 (November 1979) single by The Pretenders. It was written by Chrissie Hynde and James Honeyman-Scott, and produced by Chris Thomas.
The band's third single was their first big success, scoring number one on the UK Singles Chart for two weeks in January 1980 (making it the first new number-one single of the 1980s), number two in Australia during May 1980 (for three weeks), and number 14 on the Billboard Hot 100 chart in the United States.
Hynde got the idea for the song's title when, during an after-show dinner, she overheard someone enquiring if anyone had, "Picked up dry cleaning? Any brass in pocket?" During an interview with The Observer in 2004, she revealed that she was initially reluctant to have the song released: "When we recorded the song I wasn't very happy with it and told my producer that he could release it over my dead body."
The lyric describes the female singer about to have her first sexual encounter with a particular person, and is expressing her confidence that the experience will be successful. According to Rolling Stone magazine critic Ken Tucker, the song uses "an iron fist as a metaphor for [Hynde's] sexual clout." The Rolling Stone Album Guide critic J. D. Considine describes the song as "sassy" and credits the band for "putting bounce in each step" of it. Author Simon Reynolds similarly describes Hynde's vocal as "pure sass" and "a feline narcissism," noting particularly her "lingering languorously" over the words "I'm special." According to AllMusic critic Steve Huey, the backbeat "meshes very nicely with Hynde's unshakable confidence, and the song never gets aggressive enough to break its charming spell or make her self-assurance seem implausibly idealized." Huey also points out a harmonic shift in the music for the portion of the song where the singer lists the various attractive qualities she will use to make the encounter a success. Author Dave Thompson suggests that the song is actually about the Pretenders' first live concert rather than a sexual experience. (Source: en.wikipedia.org/wiki/Brass_in_Pocket )
Ofcourse the meaning of the song was totally not understood by this 10 year old kid, who just loved the way this song was played (drums, guitar, bass guitar) and that great voice of Christine Ellen Hynde (born September 7, 1951). I am really, really fond of Chrissie Hynde as a musician, singer and personality. I love her like I love Patty Smith, P.J. Harvey, Wendy and Lisa and Janis Joplin.
Afro-American, Jamaican, African, Black African music has played a great influence on white European and American music. There would be no Elvis Presley, the Beatles, the Doors, the Rolling Stones, Madonna, Lady Gaga, Justin Bieber without the roots of the Slave Songs of the United States, Ragtime, Blues, jazz, Rhythm and Blues and after that all the moderen African American music styles, movements and version of the 20th and 21th centuries.
African-American musicians developed related styles such as Rhythm and Blues in the 1940s. The 'white' Amerivan Rock 'n Roll is built on a fundation of African-American Rhythm and Blues. In the 1960s, soul performers had a major influence on white US and UK singers. In the mid-1960s, Black musicians developed funk and they were many of the leading figures in late 1960s and 1970s genre of jazz-rock fusion. In the 1970s and 1980s, Black artists developed hip-hop, and in the 1980s introduced the disco-infused dance style known as house music.
Sofrom the start from the old slavery spirituals from the 19th century to gospel, blues, jazz, Rhythm & Blues, Rock & Roll, Soul, Disco, House music, R&B, Dance music, Hip Hop & Rap and other forns of sophisticated moderen 21th African American music, the African American musical development has been amazing, impressing and a great achievement. Ofcourse the same counts for European and white (Caucasian) American music, but the Europeans and New Europeans (like I call white Americans with their Pan-European roots) had a longer development and means to creat their music.
Ofcourse the African slaves brought their musical heritage, genes/dna, roots, musicality and their musical taste and style of the day that they left Africa towards the USA. In the USA (and I am saying some controversials now) the African Americans developed themselves as a different Black American tribe. Like the White Afrikaners aren't European anymore, the Afro Americans aren't African, they are Americans. They are deeply part of the American history, society, economy, politics, music culture and todays American fine art (contemporary art) today.
Despite all race, ethnic, cultural, class and societal issues, problems and disturbances, racism, xenophobia, superiority complexes and inferiority complexes, discrimination and sadness, music has achieved that music is colorless, has no borders, and has no color. White and black musicians are part of one band today, they cooperate, their music constantly influences, merges, fuses and develops next to each other, into each other and creates different branches, styles and versions all the time. I consider music to be the greatest art.
P.S.- In the eighties you saw black soul, disco, Funk, Reggea, Ska, R&B, Hip Hop and rock, next to white music. But much of the white music groups and performers had black roots too. UB40, Madness, the Rolling Stones, Madonna, Wendy & Lisa, Kim Wilde, Nena and the Human Leage.
In the same time European or white American rural music like Folk music, Country music, Hillbilly music, the Vaudeville theatrical genre of variety entertainment in the USA of the 18th century and early 20th century and the Cajun music of French Louisiana have also had their influence on the African American Ragtime, Blues and Rhythm and Blues. Indeed European more sophisticated Classical music, French Modern chanson (Chanson réaliste; en.wikipedia.org/wiki/Chanson_r%C3%A9aliste ), European Gypsy music (Sinta and Roma and Gitano music), like the Belgian-born Romani-French jazz guitarist and composer Django Reinhardt, the famous jazz guitarist Joseph Reinhardt (who played the rhythm guitar and was the brother of Django Reinhardt), the double-bassist Louis Vola and the French jazz violinist, Stéphane Grappelli, who founded the Quintette du Hot Club de France with guitarist Django Reinhardt in 1934.
How come you would say? Whell I will tell you during the interbellum (1919-1939), during the roaring twenties and the difficult thrities, art, culture, literature, poetry, cinema, photography and music and dance was thriving in continental Europe in Berlin, Paris, Amsteram, Copenhagen, Vienna, Brussels and London. African American jazz musicians loved to go to Europe and perform in European theatres in Berlin, Paris, Amsterdam, Brussels, Copenhagen and London. This continued after the Second World War in the late forties, fifties and sixties. Europe for African American musicians and singers was less racist and discriminatory than the USA which still had segregation in the late forties, fifties and sixties.
A famous example was Josphine Baker.
Josephine Baker (born Freda Josephine McDonald, naturalised French Joséphine Baker; 3 June 1906 – 12 April 1975) was an American-born French entertainer, activist, and French Resistance agent. Her career was centered primarily in Europe, mostly in her adopted France. During her early career she was renowned as a dancer, and was among the most celebrated performers to headline the revues of the Folies Bergère in Paris. Her performance in the revue Un vent de folie in 1927 caused a sensation in Paris. Her costume, consisting of only a girdle of artificial bananas, became her most iconic image and a symbol of the Jazz Age and the 1920s.
Baker was celebrated by artists and intellectuals of the era, who variously dubbed her the "Black Pearl", the "Bronze Venus", and the "Creole Goddess". Born in St. Louis, Missouri, she renounced her U.S. citizenship and became a French national after her marriage to French industrialist Jean Lion in 1937. She raised her children in France. "I have two loves, my country and Paris." the artist once said, and sang: «J'ai deux amours, mon pays et Paris».
Baker was the first person of color to become a worldwide entertainer and to star in a major motion picture, the 1934 Marc Allégret film Zouzou.
Baker refused to perform for segregated audiences in the United States and is noted for her contributions to the Civil Rights Movement. In 1968 she was offered unofficial leadership in the movement in the United States by Coretta Scott King, following Martin Luther King Jr.'s assassination. After thinking it over, Baker declined the offer out of concern for the welfare of her children.
She was also known for aiding the French Resistance during World War II. After the war, she was awarded the Croix de guerre by the French military, and was named a Chevalier of the Légion d'honneur by General Charles de Gaulle.
Mai Tai is a Dutch group (named after the tropical cocktail Mai Tai) that was formed in 1983 by the Dutch record producers Eric van Tijn and Jochem Fluitsma with three former backing vocalists Jetty Weels, Mildred Douglas and Caroline de Windt. ( en.wikipedia.org/wiki/Mai_Tai_(band) )
Mel and Kim were a British pop duo, consisting of sisters Melanie (11 July 1966 – 18 January 1990) and Kim Appleby. Originally managed by Alan Whitehead, they achieved success between 1986 and 1988, before Melanie, who had been diagnosed with cancer, died in January 1990 at the age of 23.
The duo reached number one in the UK Singles Chart with their 1987 single "Respectable", which also topped the US dance chart. They had three other UK Top 10 hits with "Showing Out (Get Fresh at the Weekend)" (1986), "F.L.M." (1987) and "That's the Way It Is" (1988). In 1988, they were nominated for a Brit Award for Best British Breakthrough Act. After Mel's death, Kim embarked on a solo career and had two UK Top 10 hits with "Don't Worry" (1990) and "G.L.A.D." (1991).
Sister Sledge is an American musical vocal group from Philadelphia, Pennsylvania. Formed in 1971, the group consisted of sisters Debbie, Joni, Kim and Kathy Sledge. The siblings achieved international success at the height of the disco era. The year 1979 saw the release of their breakthrough album We Are Family, which peaked at number three on the US Album Chart , and included the 1979 single "We Are Family" which reached number two on the US Billboard Hot 100 and earned a Grammy Award nomination, together with two other 1979 top 20 hits "He's the Greatest Dancer" and "Lost in Music".
Their other US hits include a 1982 remake of Mary Wells' 1964 hit, "My Guy", and other international hits include "Mama Never Told Me" (1973), "Thinking of You" (1984), before reaching number one on the UK Singles Chart with the song "Frankie" in 1985. Remixed versions of three of their singles in 1993 returned them to the UK Top 20. Although Kathy undertook a solo career in 1989, she continued to tour with the group (with Kathy occasionally re-joining for one-off performances and several releases in the 1990s). In 2015, Sister Sledge performed for Pope Francis at the World Festival of Families in Philadelphia.