‘L’Amour Toujours’ N°307 – Vintage 90s Music Videos
Bon Jovi, The Verve, Tori Amos, Conner Reeves, The Stone Roses, Gabrielle, Phil Collins, Ruby Turner, Cher, Jon Secada, Joe Roberts, Basia
They are the performers of twelve vintage love songs that were ranked in various charts, this week (05/52) BUT … in the Nineties 90s.
Here, they are reunited in one glorious playlist. Enjoy!
WATCH IN FULL
For TWENTY FOUR more ‘L’Amour Toujours’ – Vintage 90s Music Videos – week 05/52 – click here and here
AUDIO ONLY
Tracklist
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![]() 1 . Bon Jovi – Bed Of RosesReleased in 1993, “Bed of Roses” by Bon Jovi captures a mid-life rock star’s introspection wrapped in a sprawling ballad that feels both tender and overblown. Jon Bon Jovi wrote the track during a hangover in a hotel room, weaving themes of regret, yearning, and resilience through lyrics that verge on the melodramatic, yet remain relatable for anyone navigating complex emotions. The song leans heavily on a syrupy piano melody paired with extended guitar riffs, the latter courtesy of Richie Sambora, whose playing oscillates between restrained elegance and power-ballad excess. The music video is peak early ’90s indulgence: Sambora shredding his guitar on mountaintops while Jon sits forlornly at a piano in a chapel, underscoring the literal bed/roses motif with visual flair that skirts the edge of parody. Commercially, the song thrived, charting impressively across the U.S., Canada, and the U.K., showing even the sappiness couldn’t alienate a loyal audience. Still, beneath its glossy production lies undeniable sincerity, which explains its perennial appearance in their setlists, greatest-hits packages, and even in translations like its Spanish rendition, “Cama de Rosas.” This isn’t Bon Jovi at their most innovative, but it’s them at their sentimental best, proving rock can be unabashedly emotive and still resonate, even if it occasionally lays it on thick. Featured on the 1992 album “Keep the Faith“.
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![]() 2 . The Verve – Lucky Man“Lucky Man” by The Verve offers a subdued meditation dressed in ’90s Britpop tones, crafted for quiet rumination rather than chart glory. The track stands as a centerpiece of *Urban Hymns*, an album that became a commercial juggernaut, even if the song itself never climbed past No. 18 on the UK Charts—a modest ascent by Britpop standards. The accompanying video feels as unhurried as the song itself, with Richard Ashcroft strolling through scenes reminiscent of a lazy Sunday in London, the Thames looming nearby like a quiet witness. What makes the track linger in memory isn’t some grand sonic innovation but rather the earnest simplicity of its message—contentment not as a gift, but as a process of self-reckoning and growth. It’s a sentiment both universal and understated, reflecting the late ’90s search for meaning amidst consumerist noise, and a rare moment where Britpop gracefully trades its swagger for sincerity. Featured on the 1997 album “Urban Hymns“.
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![]() 3 . Tori Amos – ChinaReleased in 1992 as part of Tori Amos’s celebrated debut album “Little Earthquakes,” “China” presents a delicate meditation on emotional distance. Originally titled “Distance,” the theme is threaded throughout its introspective lyrics and sparse instrumentation. The track offers a striking contrast between its understated melodies and the emotional weight Amos deftly weaves into every note. The piano ballad’s restrained elegance nearly masks the ache simmering beneath, a deliberate choice that amplifies its poignancy. Amos’s vocals here feel almost like a lament, understated yet piercing, a trademark of her early work. The accompanying music video situates her against a rugged English coastline. It’s an apt visual metaphor, its starkness mirroring the song’s detached lyrical reflections on relationships that seem perpetually out of reach. Whether intentionally or not, the choice of imagery reflects the tension between vastness and intimacy central to the song’s narrative. The release would eventually include compelling B-sides such as “Sugar” and “Flying Dutchman,” further showcasing Amos’s unique ability to turn layered vulnerability into an art form. Interestingly, a live rendition of “Sugar” found its place on later releases, hinting at its enduring resonance. Despite the critical nuances and artistic depth of “China,” it peaked modestly at number 51 on the UK charts, a testament perhaps to the intangible nature of its appeal. Amos herself considered re-recording the song during sessions for “Under The Pink” but opted against it, preferring instead to let it remain as an emblem of her formative artistic voice. Listening to “China” today is a subtle exercise in longing. It neither overwhelms nor panders, choosing instead to stay true to the rare quietness of deep reflection. In a catalog teeming with striking moments, this track still holds its own as a bare yet lingering exploration of disconnection. Featured on the 1992 album “Little Earthquakes“.
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![]() 4 . Conner Reeves – EarthboundConner Reeves’ debut album *Earthbound* serves as a time capsule of late-90s British R&B, blending sleek production with emotive performances. The opener, “They Say,” sets a poignant tone with its introspective lyrics and measured groove, embodying the weight of Reeves’ lyrical storytelling. In “My Father’s Son,” Reeves navigates themes of heritage and identity, his voice layered over a lush arrangement. Its chart success—peaking at 12 on the UK Singles Chart—underscores the track’s universal resonance, though its production leans heavily on the era’s studio polish. “Read My Mind,” with its sophisticated melody, merges Wayne Cohen’s co-writing sensibility with Reeves’ introspection. The track’s measured tempo contrasts with its lyrical urgency, yielding a satisfying, if not groundbreaking, single. “We Are The Wave” sees Reeves embracing a quasi-anthemic tone. Its crafted simplicity masks a deep yearning, propelled by standout contributions from session musicians like Dominic Miller and Manu Katché. “Nobody But You” rides on warm harmonies and a classic mid-tempo structure. Graham Lyle and Terry Britten’s writing anchors the emotional tension, though the track risks veering into predictability. The title track, “Earthbound,” combines elegance with a simmering intensity. Its robust chart performance reflects Reeves’ ability to channel highly personal themes into compositions that invite connection beyond their surface. “We Were Only Dancing” introduces a lightly funk-driven edge to the album’s subdued palette. Written by Grant Mitchell, it’s a nod to the swingbeat and quiet storm aesthetics of the time, though its experimentation feels muted rather than bold. In “Let It Breathe,” simplicity reigns. Reeves’ focus here is less on sonic ingenuity and more on creating a meditative space. The track gains distinction by scaling back the layered accompaniments present elsewhere in the album. “Working Man” offers a narrative flair, penning blue-collar struggles into its measured rhythm. Marc Hall’s composition underscores Reeves’ knack for elevating the everyday into poignant vignettes, though questions linger over its broader musical appeal. The closer, “Ordinary People,” brings the album to a reflective halt. Its measured pacing evokes the gravity of a hymn, with Reeves’ introspection pulsating through each note. As the final curtain drops, Reeves leaves not with a bang but with a lingering whisper of his artistic identity, quietly compelling amidst the surrounding noise. Featured on the 1997 album “Earthbound “.
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![]() 5 . The Stone Roses – Sally Cinnamon“Sally Cinnamon” by The Stone Roses signals a moment in the band’s evolution where jangly 60s-inspired guitar meets the bittersweet storytelling of unreturned love. Written by Ian Brown and John Squire, the track unspools like an indie postcard from 1987, rich in vivid imagery and punctuated by a twist in its final moments—the titular Sally’s affections are directed toward another woman. The song refuses to linger in the shadows of heartbreak, opting instead for a melodic lightness driven by John Squire’s chiming guitar tone, a clear homage to The Byrds. This single represents a transitional phase, with bassist Pete Garner making his final contribution before departure, and a more cohesive sonic identity beginning to emerge for the band. Despite its lack of impact on the main UK Singles Chart, it found a second home among indie fans, landing at #3 on the UK Indie Chart and securing its place as a cult favorite. The accompanying video is hardly a masterpiece—so off-putting that it incited a dramatic rebellion by the band, culminating in paint-covered office walls, arrests, and fines. Though its legacy might be overshadowed by later Stone Roses hits, “Sally Cinnamon” remains influential, even sparking a young Noel Gallagher’s ambition to chase his own musical path. The song’s nostalgic charm and clever narrative continue to resonate, inspiring covers from future acts like The Libertines and affirming its status as a modest but enduring keystone of British indie pop.
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![]() 6 . Gabrielle – Walk On By“Walk On By” by Gabrielle takes a well-trodden classic and reshapes it with a sleek ’90s sensibility. This 1997 rendition of the Dionne Warwick standard, penned by Burt Bacharach and Hal David, trades the restrained ache of the original for a more polished, radio-friendly approach. With The Boilerhouse Boys behind the production, the track bears the snug textures and rhythmic clean lines emblematic of its era. Unlike its predecessor’s orchestral elegance, Gabrielle’s version opts for a modernized smoothness, pairing her warm, husky vocals with an arrangement that’s both accessible and stylishly subdued. The single, which charted at a respectable number 7 in the UK, serves as a reminder of Gabrielle’s knack for imbuing her performances with quiet gravitas while sidestepping overt melodrama. The accompanying video encapsulates the song’s chic ethos, featuring muted visuals that emphasize mood over narrative—a fitting visual echo of the track’s restrained heartbreak. Featured on the 1996 album “Gabrielle”.
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![]() 7 . Phil Collins – EverydayPhil Collins’ “Everyday,” a 1994 single from his introspective album *Both Sides*, carries the familiar thread of emotional vulnerability that the artist has long woven into his work. The track eschews Collins’ typical bombastic production for a stripped-down arrangement, leaving room for the weight of the lyrics to permeate. It’s at once tender and restless—emotionally raw but carefully controlled, like someone balancing on the edge of a confession they’re too tired to postpone. The melody feels conversational yet precise, with strings and soft percussion complementing Collins’ voice, which alternates effortlessly between resignation and quiet longing. In the U.S., the song climbed to a comfortable spot on the Billboard charts, dominating the Adult Contemporary category, as if the world needed this moment of reflective melancholy. Canada took it a step further, propelling it to the top of its Adult Contemporary charts, perhaps resonating with its wintry pangs of regret. While it didn’t set the UK ablaze, peaking at a respectable number 15, it still upheld Collins’ knack for creating that elusive middle ground between intimacy and radio polish. “Everyday” isn’t party music—it’s the soundtrack for staring out a window on a rainy afternoon, contemplating the steps that brought you here. A quiet ache wrapped in familiarity, it captures a universal longing that refuses to feel foreign. Featured on the 1993 album “Both Sides”.
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![]() 8 . Ruby Turner – Stay With Me BabyRuby Turner’s “Stay With Me Baby” takes on a storied piece initially immortalized by Lorraine Ellison in the gritty heart of 1966 R&B. Her 1994 rendition sticks to its emotional guns, tearing through lyrics like a lover on the verge of collapse while balancing a UK-chart-friendly polish. The orchestral heft of the original is traded for a more vocal-forward approach, spotlighting Turner’s powerhouse delivery without smothering the composition in excessive production. Serving as the theme for Lynda LaPlante’s “Comics,” it gained TV ubiquity, though its chart performance peaked modestly at number 39 in the UK—commendable, if not seismic. Ellison’s original, a volatile blend of pain and grandeur powered by a 46-piece orchestra, remains the benchmark, its passion nearly impossible to top. Despite the comparisons, Turner’s version holds its own, bridging ’60s American R&B with ’90s British sensibilities, proving that some heartaches and cries of desperation carry timeless resonance. Featured on the 1994 album “Restless Moods”.
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![]() 9 . Cher – Just like Jesse JamesReleased in 1989 as part of Cher’s *Heart of Stone* album, “Just Like Jesse James” exudes a mix of pop-rock bravado and theatrical storytelling. Written by the powerhouse duo Desmond Child and Diane Warren, the track spins the tale of a romantic showdown with a flair for the melodramatic. Cher’s commanding vocals are accompanied by layered backing harmonies from contributors like Wendy Matthews and Brenda Russell, creating a rich, textured soundscape. The song’s robust instrumentation and Western-tinged metaphors give it an air of cinematic swagger, nodding to the outlaw imagery suggested by its title. Chart performance mirrored the track’s compelling appeal, cracking the Top 10 in the US, Ireland, and beyond, signaling its resonance with a global audience. Performed across multiple tours over the decades, it remains a fan favorite, with its bold narrative matching Cher’s larger-than-life persona. Though undoubtedly tied to its late-’80s production values, its mix of grit and drama ensures a timeless, albeit dramatic, charm. Featured on the 1989 album “Heart of Stone”.
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![]() 10 . Jon Secada – Mental Picture“Mental Picture” offers a moment of introspective clarity within Jon Secada’s 1994 release, *Heart, Soul & a Voice.* As a Latin-pop ballad, the track carries an intimate warmth, threaded with Secada’s signature emotive delivery and intricate vocal harmonies. The lyrics lean toward visual metaphors and personal longing, centering on themes of memory and reconnection while sidestepping clichéd declarations. Musically, it veers toward understated sophistication, blending soft instrumental textures with a steady rhythm that neither overwhelms nor vanishes into the background. Its inclusion in the soundtrack of *The Specialist* adds a cinematic resonance, aligning its contemplative tone with the brooding undercurrent of mid-’90s movie soundtracks. On the whole, *Mental Picture* encapsulates a snapshot of an era when pop music still managed to carry emotional weight, even while straddling commercial accessibility. It’s a measured piece, heavy on heart but light on flamboyant spectacle. Featured on the 1994 album “Heart, Soul & a Voice”.
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![]() 11 . Joe Roberts – LoverReleased in 1994, “Joe Roberts – Lover” stands as a quintessential example of the ’90s UK sound that fused heartfelt vocals with a driving beat, cementing its presence on the dancefloor without relying on gimmick or grandeur. At its heart, the track thrives on its contrast: Roberts’ emotive performance layered over production that pulses forward with calculated urgency—a tension between the personal and the infectious that mirrors the club culture of its time. Though its chart performance peaked at a respectable 22, the song’s legacy lies less in numbers and more in its ability to encapsulate a moment when soulful expression and electronic grooves converged seamlessly. The remix by K Klass—aptly dubbed the “Klub Mix”—injects additional layers of texture, emphasizing its adaptability across settings, from intimate listening to exuberant nights out. While “Lover” might not be a mainstay of retrospectives, its place within Roberts’ career captures a pre-collaborative phase that radiates both promise and individuality. Featured on the 1994 album “Looking For The Here And Now”. |
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![]() 12 . Basia – Baby You’re MineReleased in 1990, “Baby You’re Mine” by Basia offers an effervescent take on mid-tempo bossa nova, weaving her distinctive jazz-pop sensibilities into a love-laden narrative. The track, co-written with collaborator Danny White, effortlessly merges rhythmic precision with warm, delicate vocals, a hallmark of the Polish artist’s introspective yet quietly celebratory style. Its chart performance may have hovered somewhere between respectable and fleeting—with a modest rise to #18 on Billboard’s Adult Contemporary chart in the U.S.—but the song’s appeal transcends raw accolades, steeping itself in charm rather than bombast. Visually, the Nick Morris-directed video serves as a playful, sepia-tinted nod to Audrey Hepburn’s poised chic in “Breakfast at Tiffany’s,” winking at nostalgia without straying into parody. If anything, “Baby You’re Mine” provides a snapshot of Basia’s quieter assertion of pop-jazz ambition, striking a balance between meticulous craftsmanship and breezy nonchalance. Featured on the 1990 album “London Warsaw New York“.
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