‘L’Amour Toujours’ N°314 – Vintage 90s Music Videos
Tina Turner, Sheryl Crow, Melissa Etheridge, George Michael, Lloyd Cole, Zucchero & Randy Crawford, Kim Wilde, Heather Nova , Tanita Tikaram, Beverley Craven, Gloria Estefan, Tasmin Archer
They are the performers of twelve vintage love songs that were ranked in various charts, this week (07/52) BUT … in the Nineties 90s.
Here, they are reunited in one glorious playlist. Enjoy!
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For TWENTY FOUR more ‘L’Amour Toujours’ – Vintage 90s Music Videos – week 07/52 – click here and here
AUDIO ONLY
Tracklist
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![]() 1 . Tina Turner – Love ThingReleased in 1991 as part of Tina Turner’s compilation album “Simply the Best,” “Love Thing” feels like a late but determined attempt to stake a claim in early-’90s pop charts. One of three new tracks to bolster an otherwise retrospective collection, the song carries the burden of justifying its inclusion with energetic, if somewhat generic, production. The song peaked at a respectable number 29 on the UK Singles Chart, though its weaker performance in markets like Australia (62) and Germany (67) suggests its appeal didn’t fully cross borders. In the Netherlands, number 36 hints at modest attention rather than widespread enthusiasm. Devoid of the high-profile collaborations that often gloss over lackluster material, “Love Thing” leans solely on Turner’s vocal power—which, while remarkable, isn’t a cure-all for the song’s uninspired musical foundation. Contextually, the track sits awkwardly within a compilation that otherwise celebrates the highs of Turner’s prolific career, spanning over five decades of hits like “Private Dancer” and “What’s Love Got to Do with It.” While “Simply the Best” was undeniably successful—selling over 7 million copies globally and securing an 8× platinum certification in the UK—”Love Thing” feels more like packaging filler than a pivotal moment. Its chart success provides proof of Turner’s star power more than anything intrinsic to the song itself. Despite the dip in creative spark, Tina Turner’s formidable presence elevates even this minor outing, underlining why she endures as a cultural icon, albeit not with this track leading the charge. Featured on the 1991 album “Simply the Best”.
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![]() 2 . Sheryl Crow – What I Can Do For YouOn “What I Can Do For You,” Sheryl Crow channels personal experience into a sharp critique of the pervasive issue of sexual harassment. Part of her debut album, *Tuesday Night Music Club,* the track carries the unmistakable patina of early-90s rock with its unvarnished instrumentation and Crow’s characteristically smoky vocals. Released in February 1994, the song’s chart performance reflects its slow burn rather than immediate ignition—it stalled at number 84 in the UK upon its initial release. However, by the time it was re-released in late 1995, it climbed to number 43 in the UK and 36 in Scotland, signaling a growing resonance, or at least a greater marketing push. The re-release wasn’t without drama; the Official Charts Company initially disqualified the single due to a free calendar being bundled with it, reversing their decision after some controversy. In terms of lyrical content, Crow starkly confronts an uncomfortable reality of her climb to prominence, offering unflinching commentary while maintaining a reserve that avoids sanctimony. The single’s B-side, an uptempo take on “The Na-Na Song” dubbed “Volvo Cowgirl 99,” hints at a more carefree sonic experimentation, though the focus remains on the pointed message of the A-side. While Crow has since become a versatile performer traversing genres like pop, country, and rock, this track underscores her early knack for combining social critique with commercial appeal. “What I Can Do For You” may not boast the polish of her later works, but it stands as a compelling piece of her debut tapestry, unflinchingly exposing a moment all too familiar to many. Featured on the 1993 album “Tuesday Night Music Club“.
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![]() 3 . Melissa Etheridge – I Want To Come Over“I Want to Come Over” stands as a charged confession wrapped in the guise of a rock anthem, lifted from Melissa Etheridge’s 1995 album, “Your Little Secret.” Released as the second single in January 1996 under the Island label, the track leans heavily on Etheridge’s signature impassioned delivery, with wailing guitars and a driving rhythm that feel as restless as the lyrics themselves. Etheridge’s voice is the undeniable core here, carrying an aching blend of vulnerability and defiance. The song’s recurring theme of yearning cuts through, not in subtle strokes but rather in a raw plea, much like a door left ajar on a stormy night. The track found commercial footing, climbing to number 22 on the U.S. Billboard Hot 100 and number one on Canada’s 100 Hit Tracks chart by March 1996. It also made notable impressions in Australia and New Zealand, peaking at number 29 in both regions. Closing out the year, it landed on the American and Canadian year-end charts at positions 79 and 11, respectively, suggesting its resonance wasn’t fleeting. Yet, as much as the track flexes Etheridge’s knack for capturing universal emotional turbulence, its dependence on straightforward rock production could feel slightly formulaic by her own standards. There’s a fine line between searing simplicity and a lack of depth, and “I Want to Come Over” occasionally flirts with the latter. Still, for a song about desire teetering on desperation, it does its job with commendable focus, cementing its place as a fan favorite and reflecting Etheridge’s broader ethos of heartfelt candor. Featured on the 1995 album “Your Little Secret”.
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![]() 4 . George Michael – Heal The PainReleased in February 1991 on Epic Records, “Heal the Pain” finds George Michael trying on Paul McCartney’s shoes, and they almost fit. As a self-confessed homage to The Beatles’ songwriting—think the melodic warmth of “Abbey Road” meets the intimacy of “Revolver”—this acoustic guitar ballad feels like a love letter to an era Michael clearly revered. Unfortunately, while the sentiment lands, the impact wavers. Taken from *Listen Without Prejudice Vol. 1*, the song’s release as the fourth UK single perhaps suffered from fatigue; it peaked at a modest number 31 on the UK Singles Chart. Previous singles from the album already laid bare Michael’s introspective turn, and by this point, audiences may have felt their patience thinning for yet another quiet confessional. The track’s second life, however, offered a twist. In 2005, Michael recorded a duet version with McCartney himself—a gesture that turned homage into full-circle collaboration. It’s almost poetic, like asking the muse to co-sign your diary entry. This duet later appeared on Michael’s *Twenty Five* greatest hits collection, but even McCartney’s presence doesn’t entirely rescue the original’s soft-spoken impact. Cultural echoes persist, whether through Brazilian singers Fernanda Takai and Samuel Rosa’s cover or Lemon Jelly’s sneaky sampling on “Rolled/Oats.” Yet the song’s legacy feels almost spectral, drifting through interpretations more vivid than the chart history of its initial outing. Ultimately, “Heal the Pain” is more whisper than rally. A pleasant exercise in nostalgia perhaps, but one that lands more like a polite nod than a heartfelt embrace. Featured on the 1990 album “Listen Without Prejudice: Vol 1“.
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![]() 5 . Lloyd Cole – No Blue Skies“No Blue Skies,” Lloyd Cole’s debut solo single, spins a narrative as familiar as a half-remembered exit scene, tinged with a measured melancholy. Released on January 22, 1990, the track arose last-minute at Polydor’s behest, pushing Cole to squeeze out a lead with urgency. The result feels polished yet organically raw, like a perfectly accidental photograph. The recording, completed at Skyline Studios in New York, features Robert Quine’s lead guitar lines that glide through the track like a resigned sigh, underscoring the song’s emotional undertow. Despite its rush to the finish line, the guide vocal—initially intended as a placeholder—became the final take. This unplanned decision ultimately cemented a sense of intimate spontaneity. Set against the moody production efforts of Cole, Fred Maher, and Paul Hardiman, the song carries a melodic sadness tempered by Cole’s detached delivery. Once the embers fade, though, there’s little left to distinguish its “boy leaves girl” simplicity from the broader pool of heartbreak standards. Commercial reception hit modest territory, with the single peaking at number 42 on the UK Singles Chart and briefly flickering at number 86 in Australia. The accompanying music video, shot in Los Angeles under Neil Abramson’s direction, adds a visual layer, though it neither deepens nor detracts from the song’s predictable thematic terrain. Critics from outlets like *NME* and *Music & Media* appreciated the melody and Cole’s restraint, yet the track feels more like a competent opening move than a bold one. “No Blue Skies” signals the start of a solo path but waits for brighter moments to take full flight. Featured on the 1990 album “Lloyd Cole”.
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![]() 6 . Zucchero & Randy Crawford – Diamante“Diamante,” a duet by Zucchero and Randy Crawford, acts less as a mere song and more as a sonic meeting point between Italian soul-rock and American jazz-R&B traditions. Featured on Zucchero’s 1989 album “Oro Incenso & Birra,” a record that sold over a million copies in Italy, this track underscores late ’80s cultural cross-pollination. Zucchero’s gravelly, impassioned delivery, forged in the eclectic fires of Italian popular music, contrasts sharply yet complements Crawford’s smooth vocal silk—an ambrosial pairing, if not always evenly balanced. Where Crawford’s voice glows like polished mahogany, Zucchero leans into raw intensity, crackling like old vinyl. The production, like much of the album, feels grandiose, yet restrained—layered but not overstuffed. It creates a lush backdrop for two vocalists with distinct tonal textures, though there are moments when the track’s sweeping scope verges on cinematic melodrama. A tighter structure might have trimmed occasional excess without sacrificing the emotional core. Though not attached to landmark events or awards, “Diamante” benefits from the reputations of its collaborators. Zucchero, a Pavarotti protégé who graced the maestro’s famed charity concerts, brings a pedigree in forging cross-genre, international collaborations. Meanwhile, Crawford, known for jazz staples and work with the Crusaders, imbues the track with effortless sophistication. “Diamante” might lack the timeless hooks to rival global anthems, but its sophisticated veneer and textured performances render it a worthy artifact of cultural fusion. More restrained than revolutionary, it caters to a mood rather than commanding one. Featured on the 1991 album “Zucchero”.
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![]() 7 . Kim Wilde – This I SwearReleased in 1996 as part of Kim Wilde’s album “Now & Forever,” “This I Swear” opts for the intimacy of a ballad, leaving behind the power pop energy that once defined her career. Co-written with Tony Swain, whose credentials shine brightest in the 1980s, the song feels like Wilde’s gaze turned inward, an attempt to blend into the mid-’90s ballad zeitgeist dominated by the likes of Dina Carroll. The result, however, is mixed. While undeniably heartfelt, the track struggles to carve a distinct identity within an already saturated genre. Chart performance underscores this ambiguity. Peaking at number 46 on the UK Singles Chart and vanishing after a mere two weeks in February 1996, its impact is modest at best. In Australia, the story is even less flattering, with a peak of 140—a figure that suggests a disconnect between Wilde’s established stardom and the song’s resonance. The B-side, “Heaven,” with its club sensibilities, hints at more adventurous possibilities but feels like an afterthought rather than a bold counterpoint to the balladry. Kim Wilde herself remains an enduring figure, known for her breakout 1981 hit “Kids in America” and a career dotted with triumphs like the album “Close” and its top 10 singles. “This I Swear,” though, is no “Kids in America”; it lacks that spark, that immediacy which once propelled her into chart glory. As an entry into the mid-’90s ballad landscape, it’s competent but hardly unforgettable—a faint echo of Wilde’s former vibrancy. Featured on the 1995 album “Now & Forever”.
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![]() 8 . Heather Nova – Heart and shoulder“Heart and Shoulder,” one of the singles from Heather Nova’s 1998 album “Siren,” feels like a window into the artist’s internal architecture—a balance of fragility and resilience wrapped in polished alt-pop production. The track, released in 1999, doesn’t claw its way onto major charts, much like the album’s modest peak at number 13 on the German charts and 28 in Switzerland, but it serves as a quiet testament to Nova’s innate ability to make the personal feel universal. The song unfolds with the kind of emotional directness that marked her rise as part of the Lilith Fair—a festival circling the orbit of female-driven introspection. Yet this is no arena anthem; the magnetism lies in its stripped-back humanity, not in its ambition to dominate playlists. Musically, Nova’s brooding tendencies remain intact, though softened into something more polished than the stormier edges of her breakthrough album, “Oyster.” Atmospheric without being abstract, her guitar-driven arrangements pair cleanly with poetic lyricism, though the raw intimacy that defines Nova’s work risks being diluted here by its radio-ready sheen. Vocally, Nova navigates the song’s emotional core with precision. Where others might lean into melodrama, she chooses restraint, a reflection of her penchant for merging vulnerability with strength. But while her voice is the gravitational center, one might argue it doesn’t quite transcend the song’s conventional structure. “Heart and Shoulder” may lack game-changing originality, yet it thrives in its role as a vehicle for heartfelt sincerity. Like much of Nova’s work, it sits in a musical space where atmosphere and melody intermingle, delivering a track that’s easy to admire, if not impossible to forget. Featured on the 1998 album “Siren”.
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![]() 9 . Tanita Tikaram – Only The Ones We Love“Only the Ones We Love,” released on January 21, 1991, serves as Tanita Tikaram’s lead single from her third studio effort, “Everybody’s Angel.” Featuring the harmony vocals of Jennifer Warnes and a gentle piano contribution from producer Rod Argent, the track leans heavily into its folk-pop elegance—with a string section by The String Orchestra adding a touch of cinematic melancholy. Chart-wise, it grazes modest terrain, peaking at 69 on the UK Singles Chart and 58 in Germany, a restrained echo of Tikaram’s earlier commercial highs. Its performance on the European Airplay chart, where it reached 41, at least hints at a lingering radio-friendly allure. The production, headed by Tikaram alongside Peter van Hooke and Argent, has an understated polish, though this very subtlety risks leaving the track adrift in its delicacy rather than anchored by anything particularly arresting. The accompanying single includes the weightier “Me in Mind” as its B-side, with the 12″ and CD versions stretching the offering through tracks like “Mud in Any Water” and an instrumental take on “Cathedral Song”—the latter perhaps a clue to Tikaram’s tendency toward introspection, sometimes at the expense of impact. Tikaram’s voice—soulful and often steeped in a world-weariness belying her age—remains central, though here its phrasing feels more restrained than deeply evocative. Compared to the complexity of “Twist in My Sobriety” from her debut “Ancient Heart,” this effort feels less daring, more middling. The engineering by Simon Hurrell and the design by Bill Smith Studio underscore this release with technical competence, although Deborah Feingold’s photography on the artwork captures an intimacy that the song itself doesn’t fully reach. While the inclusion of Jennifer Warnes lends a sense of gravitas, the overall result is a track that struggles to step out of the shadows of its stronger predecessors. Quietly listenable, “Only the Ones We Love” feels content to exist, but it doesn’t insist you remember it. Featured on the 1991 album “Everybody’s Angel”.
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![]() 10 . Beverley Craven – Holding On“Holding On” sits comfortably as a polished ballad on Beverley Craven’s self-titled debut album, embodying her characteristic approach to emotive songwriting. The track, written by Craven and produced by Paul Samwell-Smith, exemplifies her preference for simple, direct lyrics tethered to tightly woven melodic hooks. Its initial recording with Stewart Levine stateside failed to satisfy Craven, leading her to switch producers—a decision that underscores her control over her artistic output. The “West Coast Version” of the song, a remnant from Levine’s sessions, was relegated to B-side status, perhaps a subtle nod to its lack of alignment with Craven’s evolving vision. Initially charting at a meager #95 in the UK, “Holding On” gained a second wind following the breakout success of “Promise Me,” its chart peak improving to #32 in the re-release. This pattern of initial indifference followed by moderate acclaim mirrors the cautious trajectory of an artist still carving a space in a crowded musical landscape. Crossing the Atlantic, the song became her sole US chart entry, landing at #30 on the Adult Contemporary chart—a telling indication of its niche appeal. Culturally, the song oscillates between being a time capsule of early ’90s balladry and an echo of Craven’s often-noted influences, such as Joni Mitchell. Where Craven shines is in her ability to bridge commercial sensibilities with moments of personal storytelling, even if this particular offering leans heavily on the former. From a production standpoint, Samwell-Smith’s contributions lend the track a gloss that feels more British tea room than Hollywood studio, a detail that distances it from Levine’s American polish. For all its craftsmanship, “Holding On” remains more a footnote in Craven’s larger narrative—pleasant, competent, and chart-worthy, yet lacking her more compelling songs’ emotional resonance. Featured on the 1990 album “Beverley Craven”.
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![]() 11 . Gloria Estefan – I See Your Smile“I See Your Smile” sits comfortably as a piece of early ’90s Latin-pop melancholia, a ballad that aims for tender introspection but occasionally stumbles under its own sentimentality. Lifted from Gloria Estefan’s 1992 compilation album, *Greatest Hits*, the song arrives as a reminder of her softer side, steering clear of the rhythmic spectacle of tracks like “Conga” or “Rhythm Is Gonna Get You.” Following Gloria’s bus accident in 1990, from which she made a lauded recovery, this song could easily be misread as introspective autobiography, though its universality and lack of personalization suggest otherwise. Written by Jon Secada and Miguel A. Morejon, with production helmed by Emilio Estefan, Jr., Jorge Casas, and Clay Ostwald, “I See Your Smile” operates on a simple premise: yearning for a lost love. The arrangement sways delicately between string-laden sentiment and restrained percussion, leaning heavily on Estefan’s voice to do the emotional heavy lifting. Her delivery is as polished as ever, but it skirts the line between heartfelt and overly pristine, missing a rawness the lyrics might otherwise beg for. The accompanying music video adds an unexpected twist, with American actor Andy García cast as a waiter observing a bittersweet restaurant romance. Technically, it’s nothing groundbreaking, but García’s appearance injects an element of curiosity that complements the track’s unspoken longing. Released in 1993 and uploaded to Gloria’s official YouTube channel in 2010, the video’s nearly three million views suggest a lingering nostalgia, though it’s debatable whether that’s for the video itself or for Estefan’s golden-era sheen. Commercially, “I See Your Smile” finds its niche on the *Billboard* Hot Adult Contemporary Tracks chart, peaking at number three. Perhaps it makes sense that outside the U.S., Epic Records turned to the energy of “Miami Hit Mix / Megamix” for broader appeal—this ballad, contemplative as it is, feels insular, more suited for quiet moments than global resonance. In the end, the song is a safe pivot from Estefan’s more dance-oriented fare, tasteful yet unremarkable. While undeniably well-crafted, it flirts too closely with being mood music for elevators rather than poetry set to melody. Featured on the 1992 album “Greatest Hits”. |
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![]() 12 . Tasmin Archer – In Your Care“In Your Care,” the second single from Tasmin Archer’s 1993 debut album “Great Expectations,” steers directly into the fraught territory of child abuse with an unflinching gaze. Co-written by Archer, John Beck, and John Hughes, the track wraps its sobering message in a restrained, somber production that mirrors the gravity of its subject matter. There’s a quiet potency to the way Archer’s voice navigates these themes, never resorting to melodrama but instead maintaining a detached despair that underscores the lyrics’ weight. The song’s performance on the charts reflects its challenging nature: while it reached a respectable number 16 on the UK Singles Chart, its resonance waned elsewhere, such as its brief one-week stint at number 37 in New Zealand or its lower-tier appearance at number 50 on the Eurochart Hot 100. Notably, Archer donated the royalties from “In Your Care” to Childline, a decision that aligns her artistry with action, giving her work an added layer of social consciousness. While Archer’s “Sleeping Satellite,” the chart-topping lead single, overshadowed much of her subsequent output, “In Your Care” underscores the thematic range of “Great Expectations” and Archer’s willingness to prioritize substance over conventional radio polish. The single’s release formats, including a 7-inch vinyl, cassette, and two CD versions, demonstrate mid-90s marketing tactics, with CD1 featuring a remix of album track “Ripped Inside” and CD2 including a remix of the successful “Sleeping Satellite.” As part of her breakout year, which culminated in a BRIT Award for British Breakthrough Act, Archer’s work, spearheaded by collaborations with Beck and Hughes, frequently tackled societal issues like deindustrialization and child abuse—weighty material for a debut artist. “In Your Care” finds its power in restraint, although this very quality might leave it lingering in the shadow of Archer’s more commercially triumphant singles. While admirable in its intentions and execution, the song walks the fine line between evoking empathy and fading into solemnity, a tension that may explain its simultaneously commendable yet modest chart performance. Featured on the 1992 album “Great Expectations”.
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