‘L’Amour Toujours’ N°102 – Vintage 90s Music Videos

Barbra Streisand, Wet Wet Wet, Damn Yankees, Deacon Blue, Duran Duran, BT, Richard Darbyshire, Elton John, Gin Blossoms, Meshell Ndegeocello, Bobby Brown & Whitney Houston, Jomanda

They are the performers of twelve vintage love songs that were ranked in various charts, this week (06/52) BUT … in the Nineties 90s.

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

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For TWELVE more ‘L’Amour Toujours’ – Vintage 90s Music Videos – week 06/52 – click here

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Tracklist

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1 . Barbra Streisand – I Finally Found Someone (w/ Bryan Adams)

Barbra Streisand and Bryan Adams’ “I Finally Found Someone” brings the cinematic romance of *The Mirror Has Two Faces* to life with a ballad that’s equal parts sentiment and star power.

Released in 1996, the duet showcases Streisand’s renowned theatrical delivery contrasted with Adams’ gritty vocal sincerity, creating a tonal push-and-pull that mirrors the opposites-attract theme of the film it underscores.

Its nomination for an Academy Award seems inevitable given its sentimental heft, but whether it innovates or plays it safe in the realm of movie love songs is a more nuanced question.

Musically, the track leans heavily on David Foster’s signature production—a glossy blend of piano-driven melodies and saccharine string sections, coupled with a climax that screams 1990s adult contemporary radio.

The song’s statistical success on charts worldwide, including its peak at No. 8 on the Billboard Hot 100, confirms its broad appeal, but the saccharine veneer may leave some listeners questioning its lasting resonance.

Notably, the song factors into Streisand’s career milestones with its status as her first Top 10 hit in over a decade, but it’s also accompanied by the bittersweet trivia of her declining to perform it at the Oscars—a decision that handed Céline Dion a fleeting moment of borrowed glory.

The accompanying music video, blending shots from the film with behind-the-scenes glimpses of Streisand directing, serves as both marketing tool and meta-commentary on her dual creative roles.

Ultimately, “I Finally Found Someone” embodies a polished yet predictable slice of ’90s pop, driven more by star wattage than artistic innovation, serving as a fitting concluding gesture for both singers’ Top 10 chart trajectories.


Featured on the 1996 album “The Mirror Has Two Faces”.

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

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2 . Wet Wet Wet – She’s All On My Mind

“She’s All on My Mind” by Wet Wet Wet presents a bittersweet pop ballad wrapped in the smooth, emotive vocals the band is known for.

Released in November 1995, it finds its place on their album “Picture This,” nestled between their more memorable chart-conquerors like “Love is All Around.”

Though it reached number 17 on the UK Singles Chart, the track doesn’t command attention with the same persistence as the band’s late ’80s and early ’90s hits, landing instead as a reflective piece in their discography.

The lyrics reflect familiar feelings of longing, yet there’s a lack of lyrical depth that may leave some listeners yearning for a sharper narrative hook.

Musically, it offers polished instrumentation, yet the arrangement feels as though it’s treading overly familiar ground that was already well-covered in prior years by the band.

Interestingly, the song’s various releases included unique tracks by the group under their playful alias, Maggie Pie & The Imagination, which adds a layer of novelty for diehard fans.

Though no significant collaborations or cultural moments are tied to this single, its understated charm gives it a place as a transitional piece rather than a defining anthem in Wet Wet Wet’s canon.

The accompanying music video, available on platforms like YouTube, emphasizes the wistful tone but doesn’t lift the song into the kind of iconic status that the band achieved with earlier work.

Ultimately, it’s a well-polished but understated effort, sitting somewhere between pleasant nostalgia and forgettable filler in ’90s pop history.


Featured on the 1995 album “Picture This”.

Lyrics >> More by the same : Official Site

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3 . Damn Yankees – High Enough

“High Enough” by Damn Yankees straddles the line between a rock ballad and melodrama, carving out a niche on their 1990 self-titled debut album.

Accidentally born in Tommy Shaw’s basement as Jack Blades hummed a tune, the song came together in just 45 minutes—a testament to the serendipity of creativity.

Its lush orchestration belies Ted Nugent’s typically rugged, guitar-shredding persona. In fact, Nugent’s contributions, including a pre-chorus tweak, betray a surprising willingness to embrace the theatrical potential of a ballad.

The song’s narrative suits its over-the-top arrangement, soaring into hyper-charged choruses demanding emotional investment. This calculated grandiosity earned its spot at No. 3 on the Billboard Hot 100 and helped sell over 2 million album copies.

The accompanying music video didn’t shy away from drama either, telling a Bonnie-and-Clyde-like story peppered with crime, a manhunt, and the eyebrow-raising cameo of Nugent as a priest.

The result is both unapologetically ambitious and oddly self-aware, blending schmaltz and rock grit with a kind of messy charm.


Featured on the 1990 album “Damn Yankees”.

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

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4 . Deacon Blue – Will We Be Lovers

“Will We Be Lovers” lands as an introspective addition to Deacon Blue’s album *Whatever You Say, Say Nothing,* a release that marked its peak at number 4 on the UK Albums Chart and lingered for 10 weeks.

The track fits snugly into the band’s catalog of carefully produced pop, leaning heavily on introspection over exuberance.

Released in 1993, the song finds its home in a collection burdened with introspective themes yet occasionally nudged toward radio-friendliness by polished production.

Although it shares album space with tracks like “Only Tender Love” and “Hang Your Head,” neither the single nor its accompanying video ushered in any particularly groundbreaking elements to the band’s legacy.

Its arrangement doesn’t steer far from the formulaic, yet it complements the reflective lyrical tone that has become synonymous with their work during this period.

The visual offering, accessible on platforms like Apple Music, adds a modest layer of engagement, though it’s far from revelatory in execution or style.

For a band often remembered for their pop hits and chart-topping moments, “Will We Be Lovers” is more of a slow burner, unlikely to alienate fans but equally unlikely to convert new ones.


Featured on the 1993 album “Whatever You Say, Say Nothing”.

Lyrics >> More by the same : Official Site

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5 . Duran Duran – Ordinary World

“Ordinary World” by Duran Duran occupies an intriguing spot in the landscape of early ‘90s pop-rock, emerging from the band’s self-titled “Wedding Album” in 1993 as a bittersweet anthem of personal loss and resilience.

Simon Le Bon’s lyrics wrestle with grief while striving to achieve some semblance of normalcy, laying bare a universal struggle with lines like, “Where is my friend when I need you most?” yet finding closure with “Somehow I have to find.”

The track swirls in lush production marked by delicate guitar lines and a steadily climbing melody, creating a canvas that is equal parts introspective and achingly anthemic.

This wasn’t just a song; it was a turning point for a band often considered lightweight New Romantics, revealing emotional depth and musical versatility unbeknownst to casual listeners.

The accompanying music video, a surreal feast shot at Huntington Gardens, manages to balance absurdist flourishes—a bride in a lampshade hat, for instance—with the gravity of the song’s themes, making it a time capsule both of the band’s resilience and early-’90s aesthetics.

Chart success aside, the song plants itself firmly as proof that glossy pop doesn’t always shy away from deeper emotional terrain, dovetailing personal mourning with a reminder of the world’s unrelenting chaos.


Featured on the 1993 album “Duran Duran “.

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

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6 . BT – Loving You More (w/ Vincent Covello)

In the mid-’90s, BT’s “Loving You More,” featuring Vincent Covello, emerges as a hallmark of electronic music’s foray into the mainstream, particularly within the trance genre.

Packaged as part of BT’s debut album *Ima*, the track showcases a steady blend of dreamy atmospherics with infectious beats and emotive vocals, carving out a space that feels both introspective and club-ready.

Its UK Dance Chart number 2 slot and broader crossover success—peaking at 14 on the UK Singles Chart—hint at a moment when sophisticated trance began infiltrating car radios and living rooms beyond the underground scene.

While the original version is sturdy on its own, the remixes—especially the glossy “Oakenfold & Osborne Radio Mix”—extend the song’s appeal, making it a frequent visitor on ’90s dance floors.

The accompanying music video, though dated by today’s standards, adds an almost theatrical dimension to the experience, leaning into the track’s hypnotic allure.

The song and the album it hails from represent more than just beats and melodies; they act as an early blueprint for what progressive trance would soon evolve into, cementing BT’s reputation as a restless innovator in a scene pregnant with possibility.


Featured on the 1995 album “Ima “.

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

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7 . Richard Darbyshire – When Only Love Will Do

Richard Darbyshire’s “When Only Love Will Do,” lifted from his 1994 solo album of the same name, hovers in that curious middle ground between earnest ambition and fleeting chart success.

Coming off his tenure as the voice of Living in a Box, Darbyshire swaps the band’s funky art-pop for a clean-cut pop ballad aesthetic, notable for its polished production and emotive delivery.

The song, while competent, feels dialed in to the mid-’90s adult contemporary zeitgeist, with lush arrangements that aim to tug at the heartstrings but stop short of leaving a lasting impression.

Lyrically, it leans on somewhat predictable declarations of love’s redemptive power, a well-trodden path that offers little in terms of surprise or metaphorical punch.

Its modest climb to number 54 on the UK charts suggests a cautious reception, one that neither catapulted Darbyshire into solo stardom nor sullied his reputation.

The accompanying music video, accessible on platforms like Apple Music, serves as a visual counterpart that underlines the song’s 1990s sensibilities: earnest, straightforward, and visually unadventurous.

While the track asserts itself as a respectable addition to the ballad genre of its era, it lacks the kind of urgency or inventiveness necessary to transcend its moment in time.

Perhaps best appreciated as a vessel for Darbyshire’s warm and capable vocals, “When Only Love Will Do” is a functional, if not uninspired, snapshot of its creator’s foray into solo artistry.


Featured on the 1994 album “How Many Angels”.

More by the same : Wikipedia

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8 . Elton John – Something About The Way You Look Tonight

Released in 1997, “Something About the Way You Look Tonight” sits comfortably within Elton John’s wheelhouse of grand pop ballads, exuding a polished blend of sentimentality and theatrical flair.

The composition, penned alongside longtime collaborator Bernie Taupin, anchors itself on Elton’s signature piano-driven melodies, bolstered by sweeping string arrangements conducted by Anne Dudley that flirt dangerously close to melodrama—but never quite tip over.

Supporting players like guitarist Davey Johnstone and bassist Bob Birch slip into the arrangement without demanding attention, while subtle backing vocals by Carol Kenyon and Jackie Rawe add a faint echo of gospel-tinged warmth.

Its release as part of a double A-side single with “Candle In the Wind 1997,” a tribute to Princess Diana, catapulted its cultural and commercial relevance far beyond its standalone merits as a radio-ready tune.

The accompanying music video, a visual hodgepodge featuring fashion models and actors from the UK’s “This Life,” almost seems to parody its own scale of importance, contrasting Elton’s low-energy piano performance within a visually opulent production.

Despite its layered production and multi-million-unit sales, the song operates more as an expertly engineered piece of earworm machinery than a profound artistic statement—a product of its time yet strangely timeless in its glossy appeal.


Featured on the 1997 album “The Big Picture”.

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

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9 . Gin Blossoms – Til I Hear It From You

“Til I Hear It from You” lands squarely in the mid-’90s sweet spot, a time when alternative rock flirted with glossy production but hadn’t yet surrendered its bite.

The Gin Blossoms, champions of radio-friendly melancholy, use the track to channel a confessional tone, pairing it with polished instrumentals that feel like a summer day slowly cooling into dusk.

Created as part of the “Empire Records” soundtrack, this song walks the tightrope between radio hit and movie tie-in without losing its sense of self.

Its lyrics, suspended in uncertainty and distrust, reflect a common unease in relationships, anchoring personal conflicts against a deceptively upbeat backdrop.

The deliberate arrangement of jangly guitars, a steady drumbeat, and Robin Wilson’s unmistakably wistful vocals are emblematic of the band’s knack for layering sadness with approachability.

Chart success came naturally—this is a song tailor-made for car radios and singalongs, an anthem for those quietly nursing regret.

Its packaging as part of a larger cultural moment, tied to a film that defined the ’90s indie zeitgeist, sealed its place in the era’s sonic landscape.

Despite its catchy hooks, the track feels deliberately restrained, never veering into emotional histrionics, and the effect is low-key devastation wrapped in shimmering pop-rock.


Featured on the 1995 album “Empire Records : OST”.

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

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10 . Meshell Ndegeocello – Who Is He and What Is He to You

Meshell Ndegeocello’s rendition of “Who Is He and What Is He to You” blends funk-driven basslines with an introspective twist, transforming Bill Withers’ 1974 classic into an exploration that feels both personal and shadowy.

The song originates from her 1996 album “Peace Beyond Passion,” a record that merges themes of spirituality, sexuality, and self-discovery, carving out its own contemplative niche in the neo-soul tradition of the ’90s.

Chart performance aside—reaching number 14 on the Official Hip Hop and R&B Singles Chart and peaking at 31 on the Official Dance Singles Chart—its real achievement lies in its simmering tension, an unspoken confrontation pulsing beneath the surface.

Ndegeocello’s smoky vocals bring an undeniable edge, drawing listeners into the narrative without overt dramatics, while the spacious production delivers layers of subdued funk grooves and minimalist rhythms.

This cover doesn’t shout for attention; it hovers, laced with an undercurrent of suspicion that’s miles away from the original’s soulful resignation.

Released during a period when neo-soul was undergoing significant evolution, the track feels both of its time and unmistakably singular, emphasizing Ndegeocello’s genre-defiant approach and her knack for reshaping existing material into something freshly unsettling.

As much about restraint as it is about intensity, it remains a reminder of her ability to traverse emotion and artistry with razor-sharp precision.


Featured on the 1996 album “Peace Beyond Passion“.

Lyrics >> More by the same : Facebook

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11 . Bobby Brown & Whitney Houston – Something In Common

“Something in Common,” a duet by Bobby Brown and Whitney Houston, emerges from their 1992 collaboration and symbolizes their relationship framed in a musical context.

Appearing on Brown’s third album, the track hints at the new-jack swing era with production from the legendary Teddy Riley and L.A. Reid, combining crisp beats with polished melody lines.

The song’s lyrics reflect mutual understanding and shared values, turning what could have been a saccharine ode into a surprisingly grounded and pleasant listen.

Critics appreciated its clean production and chemistry, with Larry Flick of *Billboard* applauding its infectious charm, even if its commercial performance felt restrained, especially in the U.S.

The music video, directed by Andy Morahan, doubles as a family portrait, featuring the couple alongside their daughter, Bobbi Kristina, blending glossy visuals with a candid glimpse of their personal lives.

While it peaked at #16 in the UK, its stateside impact was limited to airplay charts, a performance as understated as it was steady.

With various remixes floating around, one wonders if the alternative Quiet Storm version captures something closer to its emotional core, though the original remains the most recognizable iteration.

The track isn’t groundbreaking, but its charm lies in the comfortable dynamic between two stars, offering a rare, intimate slice of their shared world.


Featured on the 1992 album “Bobby”.

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

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12 . Jomanda – Don’t You Want My Love

“Don’t You Want My Love” by Jomanda exists in two decidedly distinct formats.

The track’s original 1989 release scratches a modest entry on the US Billboard Dance Club Play chart, sitting just at number 10, while not exactly grabbing any hall-of-fame accolades.

Fast forward to 1993, a reimagined version credited to Felix featuring Jomanda gets a lifeline, catapulting to the number one spot on the Dance Club Songs chart—a collaboration breathing new life into the song.

This later version remains a standalone entity, unattached to Jomanda’s albums, putting the spotlight on their vocals over Felix’s house-driven production.

The song’s club success serves as a snapshot of early ’90s dance floors where house music was both fervent and fiercely competitive.

No remembered TV performances or iconic music video moments align with this track, but it persists as a lively artifact in their catalog, balancing nostalgia with infectious energy.

Its path, marked by peaks and dips, mirrors the ebbing unpredictability of dance music tides.


Featured on the 1990 album “Someone To Love Me”.

Lyrics >> More by the same : Wikipedia

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This week Top 20 New Music on RVM *

(*) According to our own statistics, upadted on February 16, 2025

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